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Sold by Mes Boone, Lublishers and Booksellers.
26. New Lond Street.
MATHEMATICAL INSTRUCTION
CONSTRUCTING MODELS
DRAPING THE HUMAN FIGURE.
HENRY WAMPEN, PHD.
PROFESSOR OF MATHEMATICS,
SECOND EDITION, WITH ADDITIONS AND IMPROVEMENTS,
Hondo :
Sonp By Messrs. BOONE, Pusiisuers anp BOOKSELLERS.
29, NEW BOND STRERT.
1863.
PREFACE.
THE present work upon mathematical instruction in constructing models for draping the
human figure, is designed for all who are engaged in any manner with its external form either
in shaping or adapting some article to it——in a sanatory point of view as gymnastics &c.—or for
those who have merely a mercantile aim; but it is especially designed for persons occupied in the
fine arts and the industrial arts, zesthetically studying the draping or clothing of the human figure ;
and lastly, in the industrial sphere it is most particularly designed for that which is carried on by
order; because in draping or clothing the human figure the esthetical prineiple can only be
fully and carefully developed, and presented in an external and visible form by the hand of a
master in the fine arts, or by the hand of a master in an order industry. The sculptor, the
painter, and the master tailor, are all in this point of view, if guided mentally by the esthetical
principle, equally artists. It may be borne in mind that a lay figure of wood, or, more preferable,
a subject chosen as a lay figure in a painter's or sculptor’s studio, is only for the one or the other
of these artists, as the customer is in the model room of the artist who shapes and forms according
to order in his industrial branch of occupation, models for clothing as required for the garments
or drapery becoming to the figure of that customer. The esthetical principle, or the idea of the
beautiful in the minds of all the three artists conceptively flows or operates in the work of each,
differing only in the material employed, but as drapery the same in kind. This esthetical
principle, if flowing equally high in the different pieces of art, whether giving drapery in painting,
drapery in sculpture, or drapery on the living figure, makes the masters and their works in this
respect stand on an equally high pedestal.
In comparing a draped with a nude figure, it will appearthat one beautiful in form and
a
U
beautifully draped is far more enchanting than the nude of the same form, if only the artist has
had regard so to drape the slender figure that when placed by the side of the nude they shall
appear identical in their kinds of form. Or perhaps that it appears more beautiful, lies in the
cause that a beautiful form beautifully draped, besides conveying modesty and innocence, as it
always does in being nude, removes our mind from the otherwise too great distinctness of its being
animal, and makes the intellectual and moral being more prominently brought out. If this is the
case, then a figure beautiful as a nude would be equally so when draped ; dismissing these
additions, and permitting the mind to dwell purely on form, it may be true, especially when it is
remembered that all drapery or clothing can be beautiful only when it is thought of in connection
with the figure, and shaped and arranged suitably to its form. Drapery, disconnected, or
independent of the figure is a mere mass. Such a mass shaped with the chance of finding a
figure which it may become or not is void of the esthetical principle altogether, and in this sense,
the beautiful is completely nought. In respect to those fascinating charms which flow from
the sentimental positions or actions, they are naturally the same in both figures—the beautiful nude,
or that nude beautifully draped.
Considering the difficulty of dressing beautifully every kind of form presented by the human
figure, we must dismiss from our minds all mercantile fashions, or look upon them as they mostly
are, unnatural and monstrous, overloaded, shapeless masses, or sometimes in the opposite, scanty,
poor, and distorted attempts. Such phenomena in dress in the mercantile world are merely its
deep shadows falling on the figures of the vulgar and blind followers of the cry “ Fashion,”
which although heartily avoided and disliked by persons of sound mind and appreciators of the
beautiful in the form of dress, serve to make the truly naturally beautiful forms more distinct ;
similarly as vice revealed through the language and actions of one man, makes us comprehend
and appreciate virtue conveyed by another.
A comparison of forms will bring us to a perception of the beautiful ; but the conception of
the beautiful according to the esthetical principle, or to bring it to a visible representation
according to the laws of that principle, can only be conveyed by science; but more of this
hereafter. The difficulty, especially in modern drapery, appears to have been always great when
the naturally beautiful was looked for. Watch, in a course of twenty years, different sculptors
and painters in their studios, and for the same period different master tailors in the model room
of an order firm with their customers. Read at last all the literary works to be procured, given
to the world by thinking and reflecting men in the fine arts, and the industrial art of draping or
clothing the human figure, then it will become clear how all have striven, and are striving, to
get hold of some guide, some general rule to help them in the multitude of particular cases
coming to their hand—cases in which they must and will infuse that which alone makes the
ill
drapery becoming to the figure. Science again steps in, and with its laws presents itself to the
industrious and reflecting mind, and yet the best only embrace and apply it in composing and
designing according to those scientific ideas, as if the generality of men were satisfied to idle on in a
dim or half-consciousness, guessing in their work. Alive to this difficulty, Sir J. Reynolds says “ the
“ art of disposing of the foldings of drapery makes a very considerable part of the painter’s study ;”
further he says, “ it requires the nicest judgment to dispose the drapery so that the folds shall
“ have an easy communication and gracefully follow each other with such natural negligence as
“ to look like the effect of chance, and at the same time show the figure under it to the utmost
“ advantage.” Also Carl Marotti affirmed “ the disposition of the drapery is a more difficult art
“ than even that of drawing the human figure ;” that “a student may be more easily taught the
“ latter than the former, as the rules of drapery cannot be so well ascertained as those for
“ delineating a correct form of the human body.” Similar allusions may be brought forward in
great numbers, shewing that the art is not one to be slighted. After all then from what has
been said, does it not appear that the masters of the fine arts, the masters of the industrial arts,
and the scientific men keep themselves too confined and each isolated in his own sphere? If
one thinks himself too good or too bad for others, at least he may for his own enlightenment
make himself acquainted with their works. Was it then not more true, vital, and genial, as was
recorded in Lanzi’s and Vasari’s writings, that the students of the fine arts associated with those
of the industrial arts—and most likely both with scientific men—so that every maker even of
useful articles came to be termed an artist? And further, may it not be the true road to every
art if the early years of the artist were to be employed in the study of science, to gather knowledge
and ideas clear and extensive as possible; and after an earnest pursuit of this course to step into
their respectively chosen arts? The student would be now as then certainly elevated by it, from
the very fact that his productions would stand in their external shapes as evidence of the minds
through which they flowed. The difficulty which is admitted in the disposition of drapery,
appears to lie in the deficiency of knowledge in that branch of art or science the nearest allied to
it. The difficulty is even more keenly felt by an artist in the industrial branch than in the fine
arts; if the figure makes a change in the attitude, and the garment gets displaced, it ceases to be
becoming, and the artist drops his head wishing that living figure would keep at rest and never
move to shame him; to get any recommendation through it is out of the question, it is well if
only none is lost by it. Wherein then lies that difficulty, when in modern drapery at least, of
which we are all eye-witnesses, there is so great an anxiety to make it truly correct, beautiful,
and becoming to the figure? May not such difficulty be in the form which the drapery must
necessarily receive before it is adjusted to the figure? Not only must the shape or form be given
to it corresponding to the kind of form of the figure for which it is meant, but also it must be
suitable in size, neither too large nor too small, nor yet the size exactly equal to the figure ;
after these data have been correctly settled from which the garment is to be shaped then only
is to be looked for the disposition (commonly termed hanging or falling to the figure in motion)
of the folds in the drapery, that they may be correctly and beautifully obtained. Here then we
iv
need the definite proportions and rules of combination by which the model for the drapery shall
be shaped, not only for one, but for every kind of human form. It appears then great attention
should be given that the size and kind of form in the drapery should be first correct to each kind
of form in the figure, before the disposition of the folding and falling of the drapery can be so.
If these primary parts are perfect in the model for it, all folds visible only in the movement and
voluntary action of the figure are really naturally beautiful. But to be able to construct these
models for drapery, according to the definite proportions of the different kinds of form, and their
abnormal as well as their normal positions brings us again to the threshold of science; how can
it be done without having a profound knowledge of those sciences connected with the art?
In respect to the scientific art in draping the human figure and that of draping it without
guide, merely guessing, dimly and blindly feeling ; and further, that works and instruction of a
scientific nature are at present preferred before instruction and works void of science, need not
be further argued upon, at least in this Preface. F irst, the work before us has stood the severest
test, and received a testimonial of the highest kind. Secondly, since 1851 it is universally,
specially and individually acknowledged by the most enlightened in every branch of occupation
and rank, not only in England, but in whole Europe, America, &c. &c. and that not by words
alone but by acts, oozing out from the discussions and the actual comparison of works as a bril-
liant and pervading truth, that science blended with art and art based upon science can only give
perfection, not alone in that which is produced, but in the same time will develop a mental and
moral life in him who produced ; because in seeing the true and the beautiful, it must be that
the good is perceived in them. If such is then admitted as true of all branches of occupation, it
may be safely affirmed to be so of this, of which the work in hand treats, and indeed as has been
mentioned, already acknowledged. If complete harmony in the industrial world shall be main-
tained—and industry is the first principle natural to man—then not the smallest branch of it
must be neglected or left behind other branches which are advancing and developing to perfection.
But the endeavour to place the industrial arts in every branch upon such an elevation, to blend
them with the fine arts, so far as utility admits, and to unite them with science and to base them
upon it is not quite so new as it may appear to some; then in every age and in all countries, in
each branch of industry single sparks of this endeavour emanated or beamed from the mental hori-
zon of reflecting and meditating men of science, and the scientifically practical men, although they
presented themselves so rarely open and public until their numbers augmented, and the industrial
university under the name of the World’s Exhibition, guided by a master mind, became a centre
or focus for a luminary of such a united mental brightness in the industrial sphere as to assume
the character of an absolutely new movement. From this point now, all who will progress, start,
and every one does in his special branch the best; and his works must ultimately prove upon
what standard he raises himself, through his own application and industry.
——— as ee = Se
v
The question, what sciences are kindred to the art of constructing the models for draping
the human figure may be answered in the order in which they ought to be studied for practical
application. External anatomy may be mentioned first, and it will soon become clear that this
should form the commencement of the course of studies for our purpose. NDistinctness and
clearness in our perception and conception of form are the first requirements in every shaping
and constructive art. And so in this. If we see a human figure sufficiently distant as not
to distinguish if such is a male or female form, we perceive on its nearer approach, and say—
as the case may be—a man. If this man comes still nearer we determine his kind of form. If
we take this form nude, we become still more clear and distinct in our decision upon his form.
If we take away the muscles, and see but the skeleton, the whole machinery of that form is laid
open to our sight and our understanding. ‘Those geometrical points (termed in art, points of the
figure) which in designing and constructing we stand so much in need of, as the acromion of the
scapula, the seventh vertebral point, the fovea axilaris, the scapula point (of the lower angle of
the scapula), the sacral and the ilial points, the os pubis, and the patella, they all become distinct
as to their locality ; and even so with the height of the parts of the figure ; as the height of the
chest, the pelvis, the thigh, &c. &c. all becoming perfectly distinct. Obscurity has now vanished
from the mind and it cannot again sink in darkness. Let now the skeleton be again enclosed in
its muscles and skin. See that most wonderful nude. Drape it and let it move. What student
could now otherwise see the human form than transparently and distinctly ? Then as to appli-
cation ; a figure presents itself to be draped or clothed, the student will soon detect the form of
that figure; he knows for instance, from his acquaintance with anatomy, if the acromion of the
scapula is out of its normal position, then of necessity that its base and the lower angle are out
of it also. Having a knowledge of the difference between the normal and the abnormal he can
vary the normally constructed model accordingly, and proceed similarly with all other cases.
The next science in order would be a limited amount of mathematics. It must be evident
to every one that having to do with shaping and forming a material, either similar, approaching
to similarity, or similar and equal to a given form and size, it becomes necessary to define
that quantitative material in certain proportions, at least in the correctness of the primary outline
of its form and proper size, suitable and becoming to that given form. The method of doing so
must therefore be mathematical in the art of constructing models for draping or clothing the
human figure. The proceeding in its commencement, that of measuring correctly, is so evidently
mathematical, that it needs not to be mentioned otherwise. The mathematical axioms define
forms, and make our conceptions of them indisputably clear. The laws of variation of elements
in a complexion or system of them, &c., are too valuable to be dispensed with. Those great and
difficult problems of mathematics, applied to some high and critical point in a certain art or
science are not desired to be studied here ; they are the simple and primary elements of mathe-
matics, which are beautiful and applicable as they are universal; those we recommend, and
vi
believe it necessary for every one to become acquainted with. Then these true treasures, if men
were only true to themselves and to other men, would be easily accessible as they are easily learned.
It may not be amiss to mention here that what is mathematical in an art or science is not (as
some believe) mathematics. Mathematics is a science, and of necessity true through all the
forms of its entire sphere. But every other science or art which is mathematical (not
mathematics) may present, notwithstanding that it may be mathematically investigated, errors
and even absurdities, although such, so far as relates to mathematics, gives results quite correct.
The errors in an art or science, mathematical in method do not arise from mathematics, but they
arise from the deficiency of the applicant in that art or science to which he has applied them.
Mathematics in these cases are only the handmaid not the master. But if such errors and
false results can occur in an art or science investigated with the aid of so true an assistant as
this, how many more errors, false forms, untruths, and erroneous conclusions would appear
if the method of proceeding were altogether without mathematics, resting on mere guessing or
blind belief.
The third science in order would be Anthropometry, which is that one treating mathema-
tically of the proportions of every kind of form of the human figure, form in position as well as
form in dimension ; exposing the laws which are developing each in their kinds of form the
integral or geometrical parts as they are of necessity true and beautiful in our conception
connected with or in nature. This science reveals in the same time that it mathematically
defines in all its parts to the student the esthetical principle also. As Anatomy has already
enlightened the mind upon the human form, so much more must the science of Anthropometry,
with far greater extension and precision, mingled with a higher degree of the distinctly beautiful ,
in kind, as science only can present it to the mental eye, analogous to art presenting it to the
physical eye. As to its practical application, the entire groundwork of the models in this work
rests upon this science. Without the definite proportions founded on it, being taken for our
guide to bring truth and beauty in the models for the drapery, we should not be designers and
composers in constructing them, but mere guessers or bunglers in the art, and ignorantly term
ourselves talented, taking our mere physical energy for genius.
Much has often been said of system. Now every one knows that system in nature is the
order in which parts or elements are connected of necessity according to laws naturally and
uninterruptedly operating together. Hence systems in arts and science are methods of conveying
and explaining truths and proceedings in such order as to be worthy of the term. Still works
written with the view of practical facility in their application sometimes deviate from such a
completely strict order, but only so far as that the solidity of the imstruction is not thereby
lessened. Be it remembered that solid and accurate instruction and learning are different to
Vii
practising them, though theory and practice can perfectly agree. The scientific method of this
work will soon become apparent to the student, and it will be seen by the initiated whether it
deserves the elevated term, system. But in a practical view or application, the system before us
of constructing models is not to systematise merely a few points, lines, and parts into a model,
expecting then that the figure shall come and fit itself to that, but the system here in hand is to
construct a model according to any kind of form of any human figure which may happen to present
uself, to be draped or clothed in whatever style and costume chosen, and that in the same time
becoming and suiting.
From all that has been said it appears evident that modelling for draping the human figure
properly and correctly viewed is an art, and in its fundamental principles in the same time a
science; it will be, as it is, not only sought for the mere material usefulness, but also for
enlightenment and pleasure to the mind, especially in cultivating a taste for the beautiful in the
choicest of forms. Perhaps it may here be mentioned that the groundwork in the models
presented contains fundamental and general rules, which are unfettered and free from any style
or costume, although presenting in their application the special European modern costume, as
being in our time the most suitable and general among most nations. And especially for this
reason ; the artist, being well versed in the contents of this work, has means in his possession
which will serve him in every country, at any period, modern or ancient, in which he may be
obliged to place himself, and his calling shall lead him to the art of designing and composing for
draping the human figure. But whoever will gain, and when gained, keep the elevation of master
in his art in the true sense of the word, let him not believe he can relax in the science or in the
practice of it; the deficiency in any art whatever which we may pursue has always its origin in
the deficiency of knowledge in the natural science kindred to that art. Let every one suspect
himself of human weakness and shun the easy method of bungling and living upon the wrongs
inflicted upon others who must receive such bungling products as if they were really perfect.
Such is human weakness, and unless incited to learning and application by some self-supporting
or foreign energy, men live rather in ignorance and unskilled ; they sink beneath the proper
standard which they ought to maintain, and that not only in the art which they are presumed to
pursue, but with such debasement they sink in their very being as enlightened and morally free
agents.
In conclusion we may say that it is sufficiently clear from the whole Preface, by itself,
without an especial aim to establish it that the true and the beautiful are presented in the
industrial principle; and that as it is proved from mental philosophy, according to the mental
laws, we cannot avoid seeing goodness in the true and the beautiful. We will therefore
endeavour unceasingly to let such be exemplified in the qualities of our productions, combining
Vili
pleasure with utility, that we may derive gratification from seeing that our works impart it to
others, and so while the good reveals itself in the true and the beautiful it may become a living
moral in our actions, and not sink into the degrading unartist-like corruption which creates and
forms but for the purpose of sale, and not for quality or use. If I do not go beyond my limits in
the advocacy of moral truth, then surely as time and space are universal and never can be
annihilated, being presented everywhere that matter assumes a tangible and visible form in the
combination of these elements, there will always spring up being as a goodness which will
annihilate the bad; and the wrong doer and idler will feel, or those nearest to him the sting of
painful suffermg. Individuals, Firms, Towns and even States, when corrupt shall sink before the
self-establishing everlasting good. In ignorance we scorn this, the wise and good will see, learn
and gain.
HENRY WAMPEN.
x
CONTENTS,
Preface,
On Mensuration,
MODELS FOR DRESS AND FROCK, NORMAL IN DIMENSION.
A. according to the proportionate form,
B. ss y broad or Herculean form,
C. op as slender or Mercurial form, .
ABNORMAL IN DIMENSION.
A. Explanation,
B. Construction, ; 9
a) 10 2 th, BS
b Wee Wy hs IDES
C. (<2, Ws
lo > i, 1D
C. Placing of the parts of the Model,
D. Sleeve and Skirt,
ON VARIATION.
A.-according to position,
5 es style,
CN ee ee mixed variation,
CONSTRUCTION— Continued.
Models for Vest,
4, » Lunics,
Trousers, :
on », for a proportionate figure,
a 55 » Slender figure, .
a Ss », broad figure,
Style,
MODELS FOR HABITS.
Measure, r
Proportionate form,
Broad form,
Slender ,,
Sleeve, :
Skirt, . : : :
Models for over Habits, . é _
» 9 over garments falling to the figure,
a », loose garments,
Breeches,
Gaiters, .
Appendix,
Paragraph
44
58
62
75
81
101]
Page
i
1
ON MENSURATION.
INCH MEASURE.
_ 4 1—The measure which is necessary to our purpose consists of a tape half an inch broad, and
from seventy-two to eighty inches long, oil painted and marked in inches, numbered 1, 2, 3, &e., &e.
Leather, parchment, or even paper is sometimes taken for such a measure. The old masters used measures
without being marked in inches, and in measuring made signs (hieroglyphics) on them. Each one had
hievoglyphics after his own choice, whick could not be understood by anyone but himself. This obliged
them to have as many measures as they had persons to measure. But as we in the present time adopt the
inch measure, it is merely needful to write down the number of inches as the result of a measurement of
the person; and it will be seen that this is a much more easy method than the former, as well as more
convenient to keep a few numbers in a book for the purpose, than to be encumbered with a quantity of
loose measures.
It is quite immaterial whether the measure, with which the size is taken, is English, German, or
French, if only it is observed that the quantity taken corresponds with the proportion measure according
to which the model shall be constructed. But before going farther with the explanation of it, we will
treat upon measuring and the proportion measure; but so much may be noticed here, that in measuring
we choose the English inch measure; and to have the correct English inch at hand, it is given in fig. 5,
plate I., marked upon a right angle,
MEASURING.
oll From every kind of form of the human body, and for every kind of drapery belonging to it,
measures must always be taken in one and the same manner, which should be so often repeated, that in
every case the result obtained by measuring the same person should be precisely the same, however often
it may be done, This is the proof of certainty, which is only to be obtained by repetition ; and before
such certainty is obtained, the quantities taken cannot be looked upon as correct. The measures to be
obtained are partly fixed, and partly changeable. The fixed are those taken from the body of the person,
those are termed changeable taken from the drapery ; both of which in the following will be treated more
definitely.
THE MEASURE FOR DRESS, FROCK, JACKET, AND UNIFORM, &c.
‘I 8.——The person to be measured stands in an upright position, we then place the inch measure on
the bone of the neck (7th vertebrie), as exactly as it can be ascertained through the clothes (drapery)
keep the measure fixed in this locality, and lead it down to the greatest depression above the sacrum,
which would be the natural length of the back of the human body. Keep the measure here fixed algo,
and carry it down to the heel of the boot, or sole of the foot, behind in the middle of the heel (tarsus).
At the same time when the measure is so placed, we take the length of waist that it is intended the
drapery shall have, and also the length of the skirt. The length from the bone of the neck to the natural
back length is termed the natural waist length ; and the length of waist intended for the drapery is termed
style waist length ; that of the skirt is termed skirt length ; and lastly, that from the bone of the neck to
the sole of the foot is the ground length. When circumstances require the entire height of the human
body, it can most easily be taken by placing the person against the wall, and marking the height with
2
2)
pencil, afterwards measuring it with an inch measure. This is termed the height. The fixed measures
from these are: the natural waist length, the ground length, and the height. ‘The changeable measures
are: the style waist length, and the skirt length. ;
Further, the person being measured extends the right arm in a straight line with the back, forming a
right angle with the lower part of the thorax, and at the same time holding the fore arm to the upper arm
also in a right angle. With the arm in this position, place the measure in the middle of the back and
carry it to the elbow; keep it here fixed, and lead it to the length intended for the sleeve. That length,
from the middle of the back to the elbow, is termed elbow length; and the other is termed sleeve length.
The former is a fixed measure, and the latter changeable. The circumference of the arm, as well as the
width of sleeve, may be taken; but these measures may be dispensed with.
Lastly, place the measure, without shifting it, over the vest, exactly under the arm round the body, at
the greatest dimension of the thorax. The measure so obtained we term in Anthropometry thoracial circum-
ference ; in common it is termed breast measure (denoted by the sign 0). Next place the measure in the
lower region of the thorax, in its greatest depression, and consequently in its smallest dimension, round the
body, which obtained quantity is termed ilial circumference; in common, size of the waist (denoted by
the sign U). Both these are fixed measures. For a vest, the breast. measure and the size of waist are
taken in the manner just described; and it may be mentioned in the same time that the length of a vest
is found by placing the inch measure on the bone of the neck, fixing it in that locality, and thence leading
it down in front to the desired length; the same is done if a jacket length is required. Should the
measure be for an uniform, the circumference of the neck must also be taken. The measures for over
clothing are obtained as here described for dress and frock, but the breast measure for a cloak is taken
over the frock.
Wl 4 The measure for trousers is taken in the following manner; place the inch measure exactly
above the hip (ilium), in the waist (ilial depression), on the side of the body; keep it fixed here, and lead
it down to the side of the knee, and from hence on the outside to the sole of the foot. This measure is
termed side length; that to the knee, knee height, Next place the measure close to the trunk inside the
leg, keep it here also fixed, and carry it again down to below the knee (tibial indentation); from thence
lead it down to the sole of the foot, keeping it all the time on the inner side; this ig the leg length, and
a fixed measure, as are all the others. Those which may be taken according to circumstances, as for
instance for a knee trousers, é&c., are changeable measures.
The breast measure (0), as well as the size of the waist (U), are taken for trousers as above described
for dress and frock. If the size of the thigh is taken, the measure must be placed exactly close to the
trunk round the thigh; the size of the knee must be taken round it in the middle of the patella; that
below the knee through the tibial indentation.
A form or order in which measures are taken is as follows :—
Natural waist length . 164 in. Elbow . 20in. Side length for
Style waist length. . 18 ,, Sleeve . 81 .,, Trousers. 41 in.
Skartilencth.Gnkey ten OS tee! Oe 01k Se leg length . 31 ,,
Ground length. . . 56. ,, Wiis Nas) 5 CG 1 WAGs,
Or entire height, 64 in. = feet din. Vest length, 23 in,
PROPORTION MEASURE.
1 5 When we have to do with length measures in the construction of models, they are mostly
used entire, but the circumference is, on the contrary, always taken in half; for example, when the entire
circumference is equal to 86 in., take 18in. and say, O18 in., proceeding thus with all the other circum-
ferential magnitudes, as U=15 in., which here means the half size of the waist. Although we receive
the magnitudes from the human body, by measuring, in inches, however many inches the breast measure
(O), or the ground length (expressed by G) may be, still we do not take the O and G in inches, but in
their concrete quantities, and divide O as well as G into a certain and definite number of parts.
_ See fig. 1, pl. I., the A’B’ here represents O, and is divided as it has been in Anthropometry ; viz.,
A'B =19 units (abbreviated w from unit), go thata B’=u,ab =6u,bc=6 u, and A’c=6 1; also
A'B! =u + 6u + 6u+6u—19u. As nowab=6u, and as 0 is 8 u distant from a in the direction of b,
3
and also as a B/=u, so is 0 B=38u+u=4u. CO’ D’ represented thoracical circumference in Anthro-
pometry, m which also, the proportion measure, it is needful to observe is A’ B’=C’ D’, that A’ B’=19 u,
and C’ D’ also contains 19 w; consequently an unit (u) in A’ B’ is equal to an unit (u) in C’ D’; farther, that
o D’=o B’, and C’ o=A’ o.
But from this the proportion measure, by which the model is constructed, differs. For which sce
fig. 1, pl. I, A B. This measure is only divided in 18 units (u); viz., A c=6 u, ¢ b=6 uw, and
b B=6 u; and also A B=8 - 6 u=18 wu.
This division is made in the following manner: divide A B in three parts, A c,c b, and b B; divide
A ¢ again in three parts, Ae, ¢ d, and de; lastly halve A ein f, and take A f as an unit (uw). The ois marked
3 u distant from B towards 6. The distance from A to o is here as in Anthropometry termed normal.
But by this proportion measure, according to which the models are constructed, A o is termed the normal
size of the waist.
q 6.——On a comparison of the two proportion measures, that is A B with A’ B’, it will be found
they are equal to each other, A B=A’B’; then AB as well as A’ B’ are taken singly, equal to the
thoracial circumference, namely, A B=O' D’, in which it is also A’ B=C’ D’. But the unit (wu) in
AB, differs from the unit (w) in A’ B’, because A B=18 wu, and A’ B’—19 u, according to the foregoing.
As A’ B’is divided into a greater number of parts than A B, so necessarily u in A’ B’ is smaller than u
in A B.
In the construction of a model from the proportion measure A B (as will be shown when we have
advanced so far), it is found that the breast measure (O) is equal to 0 D. Now C E=A B=18 w, and
EH D=u, namely, E D=A f, consequently it is C E+E D=18 u+u=19 u As C D=CE+ED,
sois also C D=19 u. Now19> 18, and w—u, therefore 19 u > 18 u, and with thsCD>AB. It
is also o D=4 u, o E=o B=S u, and E D=x, consequently is 0 D=o E+E D=3 u+tu=—4 u.
As now according to the foregoing there are the same number of u in O’ D’ as there are u in C D, and
as further 0 D > OC’ D’, so it follows also that the u in the breast measure C D is larger than that in the
thoracial magnitude CO’ D’ (u>w’), and also that 4 win C D are larger than 4 w’ in O’ D’, and with this
oD>oD.
The difference between the proportion measures A B and A’ B’, and the difference between the results
C D and C’ D’ must be particularly observed; first, because they are a part of the links between Anthro-
pometry and the construction of models; secondly, A’ B’ as well as A B has been given equally large from
one and the same human body, and it is especially intended to divide A B into a lesser number of parts than
A’ B’, so as to obtain CO D larger than O’ D’ with an equal number of units (u) on purpose that the form of
the model shall be obtained equal to the form of the body; only the model, in its superficial contents, is in
the same time larger than the superficial contents of the body ; for it is known by experience that wher
a physical surface, however thin, is placed round a convex or round body, it is taken up in quantity, and
would be too small if constructed no larger than the mathematical surface of the body.
FURTHER EXPLANATION OF THE PROPORTION MEASURE.
q 7. In the foregoing paragraph sufficient has been said to make it perfectly clear, that the
following proportion measures for practical purposes are correctly founded.
From Anthropometry we learn that there are three kinds of form of the human body, regarding their
height to their tharacial circumference: namely, proportionate, broad, and slender forms; even so we have
now to consider three different kinds of proportion measures, through which the forms of the body are
known and by which models are constructed corresponding to those forms.
To make a proportion measure we take + of a given ground length, however many inches the } part
may consist of, and marking that quantity off upon a tape or strip of parchment or paper, see fig. 2 in
which A H=+ of the ground length; or, if the entire height of the human body is given, then is A H
==+ of the height, as, according to Anthropometry, 4 of the height is always equal to + of the ground
length. Now halve A H in I, halve again A I in K, and, lastly, halve A IX in L. ‘This quantity A L
take as an unit and term it h, that it may be understood it is an unit from the height, or from the ground
length, which is the same. Now carry on the strip the thoracial circumference (breast measure O), see A
B, fig. 2. Divide A B in three equal parts, AD, DO, and C B; divide again A D in three equal parts
4
AF, F E, and E D; lastly halve AF inG. Now take the quantity A Gas an unit and term it b, to
denote that such quantity is derived from the breadth or circumference of the human body; hence h and b
each denote a quantity of different kinds.
The uuits are found in the next two figures 3 and 4, in the same manner as the units h and 6 in fig.
2, and, therefore, it would be only unnecessary repetition to describe them here, The fractional parts of
the unit h and b are marked as follows: 3b, 3b, 20; or ih, 3h, 2h; or, when the smaller of the two
quantities is described with k, as + k, 4 kh, 3h.
COMPARISON OF THE UNIT h WITH THE UNIT 8.
@ S.—If we compare the two units and b, so must it be true of them what is invariably true of
two quantities: namely, according to the primary mathematical axiom, two quantities, h and 6, are equal to
one another or not equal. Although both quantities, 4 and b, as height and breadth are not of the same
kind, still, taken as lines, they are both of the same kind and can as such be compared.
To commence with fig. 2. On comparing h with b it will be found that h is equal to b (abbreviated
h=b), and the ratio of these two quantities, h to 6 is as 1 to 1 (abbreviated h: 6=1: 1), which means
to say, h is to 6 in the ratio of equality; by which it may be known that the human body, whence this
measure is taken, having such qualities in its units h and 0, is a proportionate body: namely, in its height
to its thoracial circumference.
Second. On comparing h with 0 in fig. 4 it will be found that h is smaller than 6 (abbreviated
h <b), which means h is im ratio to 6 as 1 to 1 plus difference (abbreviated h : b=1:1+d), or his to
6 in the ratio of inequality, and in the same time in the ratio of minority. From these qualities of the
units of a measure it may be known, that the human body, from which it is taken, is a broad form with
respect to its height to the thoracial circumference.
Third and lastly. Comparing h with 6, see fig. 8, it will be seen that h is larger than b (h > 6), which
means hh is to 6 as 1 to 1 minus difference (abbreviated h : b=1 : 1—d), as we say h is to 6 in the ratio
of inequality, and especially in the ratio of majority (iis always placed the first and 6 the second in order).
From this quality of and 0 in the measure, it may be known again that the body, from which it is taken,
is a slender form.
TO FIND THE NORMAL SIZE OF THE WAIST.
@ 9.——In fig. 2, as explained in paragraph 8, the h—0, and in this instance it is needful only to
use the quantity b, leaving h unobserved, although it is immaterial which of them is chosen in the present
case. On this measure A B (abbreviated O), to find the normal size of the waist (abbreviated N), carry
from B towards A the 8 0; so that o B is equal to 3 0 (abbreviated o B=3 0); the A o gives the normal
size of waist (N). ‘The whole expression abbreviated is O—3 J—=N.
Tn fig. 3 the case is somewhat different. To find the normal size of the waist it is necessary here to
take b, not h; and again, it iso B equal to 8 0, and with it A o, equal to the normal size of the waist (N).
The whole expression abbreviated stands O—3 J=N. j
Fig. 4 presents another difference. To find the normal size of the waist in this case, we must
necessarily carry from B out 8 h on the measure, so that o B—3h; and be particularly careful to take h
and not 6. Ao is here also the normal size of the waist (N). The abbreviated expression is O—
3 hA=N.
To find a general expression for this locus 0, we say: set off the smaller of the two h and 0, which
smaller shall be termed &; then the following expression may be chosen, namely, O—3 k=N. This
also may be given in different words: deduct from the breast measure (O) three of the smaller quantity,
namely, of h and b (k); and the difference is the normal size of the waist (N). }
To find a locus of degree (I) on the measure fig. 4, make I B equal to the third part of o B, which is
I B=}0B; and proceed in the same manner with the foregoing two measures, fig. 2 and 3, to find the
locus of degree.
It cannot be completely proved in this place, as it would lead us too far, why the smaller of the two
quantities h and 6 must always be taken to obtain N, or the locus 0, but it must be looked for in
Anthropometry.
5
COMPARISON OF THE NORMAL WITH THE REAL SIZE OF THE WAIST.
q 10. The size of the waist which is given by taking the measure is termed itg real size
{abbreviated R), that it may be distinguished from the normal or ideal size (N). These two quantities R
and N are originally by themselves positive (+) quantities. By making a comparison in fig. 4 of the real
size of waist (R) with the normal size A o (N), it will be found that R = N, and consequently R — N ==
0; for this reason the normal locus is suitably marked with 0, which indicates that the quantity goes up and
leaves no difference. From this quality of R and N we know that the human body, from which the real
size of the waist (R) is taken, is normal in its waist to its breast measure. In this case it is often termed
proportionate, but it can only be said in a confined sense, and, scrutinized, the expression can apply no
further than to fig. 2.
On a comparison of ’R with N, see fig. 4, it will be found itis’R < N, and, therefore, will be ’‘R — N
— — D (namely, the smaller ‘R deducted from the larger — N gives — D), and from this difference — D
it is found that the human body, from which the real size of the waist (‘R) was obtained, is abnormal and
especially negative (—) to its breast measure.
Lastly. Comparing R’ with N we find that R’ > N, and, therefore, R’ — N = + D, which
means the smaller — N deducted from the larger R’ gives + D, and by which it may be known that the
human body, from which this measure is taken, is abnormal in its waist size to its breast measure, and
especially positive +. Compare, also, R” with N; itis the same kind as B,, only that R” is different in
degree, meaning that R" is larger than R’. The difference between o andI we denote with D t, which
read positive difference of the first increase; and the difference from I, however large or small R” may be,
passing [is denoted with D%, as shown in fig. 4, and a body of this measurement 1s said to have a positive
differenee of the second increase, commonly termed an abdominal body. Remark: the sign of quality + may
be put above and following D when required by circumstances, instead of before it. For instance: instead
of + Dit may be written thus, D+; and so with —D, it may be placed thus, D-.
It is in the same time to be observed, that the quantity N is always unalterable, and, consequently,
the locus 0 is fixed; but opposite to this the quantities R, ‘R, R’ and R” are actually only one quantity,
which is larger or smaller through its fluctuation ; for which reason its alterable conditions are denoted by
accents. R is also a fluctuating quantity, and therefore the differences D-, D *, and D +, are alterable
or fluctuating quantities.
What has been giving in this paragraph of N and B applies to the two other figures 2 and 8, and
therefore not necessary to be repeated here.
PROPORTION MEASURES OF REAL SIZE.
Siecle There is presented in pl. I. an entire series of ready-prepared proportion measures of the
real size, commencing from the small size, 103 inches, up to the large size, 25 inches in the breast measure.
They are given in a finished state that they may be ready at hand for immediate application, particularly
in cases where there is scarcely time to construct the model. They can be very easily copied upon
parchment, leather, tape, or even paper, according to convenience. ‘hese measures are made in the same
manner as already described, only that the units are marked out in full up to 12, which in the description
of them is not done.
In the row A are found all the breast measures; the row B gives the ground lengths; the row C
denotes the entire heights of the human body, and the sizes of these measures are giving im inches ; lastly,
in the row D the whole height of the body is given, but expressed by its number of feet.
For example, when found by measurement that the breast measure is given equal to 18, look for the
number 18 in the row A, and take that proportion measure for the breast measure on which the number
falls. Next look for the ground length, which falls in the row B, and may be, for instance, 56 inches. The
proportion measure containing that number is to be taken for the ground length. To make this more
distinctly understood it is necessary to remind that only one-seventh of the ground length is marked on
these measures, which one-seventh is here on the proportion measure crossed on a line at No. 8; further,
that these eight units are the seventh part of the ground length is quite clear, as 7 times 8 are 56, Such
is the case with all the rest of the measures; the ground length will always be ascertained by multiplication,
if we take the number of units in inches, and multiply the number of inches by 7. That the eight units in
6
the proportion measure 18 exactly agree with eight inches is because, in this case, one unit of the proportion
measure is equal to one inch ; but this is the only instance in which they correspond, not being the case
with any others.
If it should happen that a given measurement is not obtained by an English measure, or if it is merely
taken with a plain tape, and the different sizes marked with symbols, it is simply to lay the given measure
on the proportion measures until the one is found which exactly agrees with that of the required size.
q 12. In those cases where it occurs that the breast measure and ground length are on one and the
same measure as, for instance, when the former is 18, and the latter 56, then we say that the human body
from which such is taken is a proportionate form.
Should it happen that the proportion measure on which the breast measure falls is larger than that on
which is found the ground length, then we say that body from which it was taken is a broad form; for
instance, where the ground length is 56, and the breast measure may be 21 inches.
On the contrary, shouid it occur that the proportion measure containing the breast measure is smaller
than that containing the ground length, as, for instance, the former should happen to be 18 and the latter
63 inches, it may be known that the body whence it was taken is of a slender form.
4] 13.——The signs 0 and I in the proportion measure have been found in a manner similar to that
described in the foregoing figures 2, 8, and 4. It remains to be remarked that those bodies are seldom
proportionate when the breast measure runs as high as 21, 22, 28, &c. inches. For this reason all bodies
which measure beyond 18 are treated in locating o and I as if they were broad forms; and in degree as
they exceed that measurement more decidedly so; and there would be no sensible incorrectness if it should
happen that a large size is taken from a proportionate form,
Lastly, in denoting the size of the waist on the proportion measure contaiming the breast measure
belonging to it, it will mmediately be discerned whether the size of waist meets 0, or does not reach or
passes beyond it. Should it not reach, it will be D-, and should it pass, it will be Df, or Dé in a similar
manner to that presented in fig. 4. Fractional parts of the units, as the measure shows, are denoted
thus: 4, 3, 3.
_ Gf 14.——Fig. 6 on pl. I. represents an instrument (protractor) with which angles are measured. As,
for instance, the angle of a dress skirt is equal to 107°; but with its assistance every other angle required
can be constructed.
ON CONSTRUCTION.
MODELS FOR DRESS AND FROCK.
A, ACCORDING TO THE FORM OF THE FIGURE, h=b, 0; NORMAL FORM IN DIMENSION.
¢ Gods. To construct a model for this form, h—=6 and 0, which has been mentioned in paragraphs
8, 9, and 10, under Mensuration, the following must be observed. This form of the figure, according to
which these models are constructed, is normal in dimension, because hR=0, and the real size of the waist
(R) is equal to the normal size, (N) hence the difference between both is 0; the position of the figure
is not alluded to in the construction, but it is erect, and consequently normal.
In the construction of a model, we take a proportion measure, of a size at liberty, which is made to
the above form (see paragraph 7, Mensuration); for instance, such as that at fig. 1, pl. 2; or take a measure
from a definite size, supposing one to be given of 18 inches breast measure, 56 ground length, and 15
the real size of the waist, as described in paragraph 11, Mensuration.
Fig. 1, pl. 2, exhibits a measure, A B where h=b, and the real size of the waist (R) is equal to
A o, which means it is equal to the normal size of the waist (N). The model on pl. 2, is constructed after
this measure. The quantity AC = of the ground length, the same as mentioned in paragraph 7,
Mensuration.
‘| 16.——The Models are constructed by placing their co-ordinates under right angles, and making
them as large as the proportion numbers denote, which are given with them; for exanple, in fig. 2,
pl. 2, it is seen that A B=13, B C=7, and C D=8; to continue A E—3, B F=72, and C G=4}.
These co-ordinates A B, B F, &c. &c. in the back are taken as a whole in their connection with each
other, termed ground form, on the correctness of which mainly depends again the fit of the model to the
figure. The other form A K I H L D in the back is termed style form, and to a certain extent is not
necessarily of such precise conditions as the ground form; and it is to a certain degree free drawn, if only
in producing it the form of the human figure is kept constantly in view, so—namely, that one part of
the style form suits to the other, as, for instance, A K to 1 H to D L; and still farther, that such parts are
also suitable to the figure and to the kind of drapery; for in this consists the artistical arrangement of the
model to the figure, through which taste in it is generated.
What has been said of the hind part, fig. 2, applies in general to the forepart of the model fig. 8, also.
The co-ordinates A G, A B, B C, B F, &c., are here again placed under right angles, and defined through
their proportion numbers, A B33, B C=51; but C D is equal to C D of the back, and E I is equal also
to C Dof the back. Farther, A G=23, B F = 73, 6 E=9, &c., as is seen by a reference to the numbers.
[t must be particularly observed that C E I is equal to a right angle, and that K E H also must be taken
equal to a right angle in the construction. The I H=1} defines the position of the E H.
=
LP Se See Me merry Cur vereeeeayperrerenennerenn
8
q 17. The observations made upon the figure in pl. 2, are applicable also to pl. 8, only fwith the
exception that the style form is here altered; that in pl. 2 is short in the length of the waist, while this on
pl. 8 islong. In the long waist, fig. 2, pl. 3, it would look very unsuitable were A B to be taken as small
as the corresponding part on the back, with the short waist, fig. 2, pl. 2. For this reason, the suitability of
one part to the other in the style form must be observed here, and therefore the two models lon g and short
in the waist present a good example on comparing the one with the other.
One part remains especially to be observed in these two styles, namely—the indentations. In fig. 3,
pl. 2, the indentation is given L M=23; but opposite to this, in fig. 8, pl. 8, L M=—18, and notwith.
standing this difference, either of the models go with equal closeness to the figure. That it is correct must
become quite clear, when it is remembered that a straight line drawn from M to N will be equal to the
curved line N I H O, in fig. 3, pl. 2, and in the same time brought in mind that these two lines have one
and the same place on the human body.
The letters h and b, units of the proportion measure do not accompany the proportion numbers
in these models, because it is not necessary that they should be distinguished from one another here, as
they are equal.
In fig. 2, pl. 2, the normal length of the waist, the style length, and the natural or real length D,
all fall in one point ; but in fig. 2, pl. 8, the style length of the waist falls deeper, namely, on CO.
1B, ACCORDING TO THE FORM OF THE FIGURE, he b, 0; NORMAL FORM IN DIMENSION.
q 18. This form, h <b, and 0, is that which occurs in the second case, paragraph 8, in Mensuration,
by comparing the unit h with the unit b; and farther in paragraph 10, by comparing the real size of
the waist (R) with the normal size (N).
The fig. 1, pl. 5, shews a proportion measure of this property, where 6, in the breast measure A B, is
larger than h in A ©, (remember in paragraph 7, in Mensuration, that A C+ of the ground length),
namely—that h <b and the real size of the waist R—A o, and is equal to the normal size of the waist N;
according to this measure the models on pl. 4, and pl. 5 are constructed.
The construction of models in the broad form is proceeded with in the same manner as in the
proportionate form, but with this difference; first, all lengths in the model must be taken from the units
of the height measure of the figure, A OC, fig. 1, pl. 5. Again, remember A C=# ground length,
paragraph 7, Mensuration. Second, that all breadths in the model must be taken from the units of the
breast. measure of the figure, A B, fig. 1. To distinguish the two quantities, h and 8, it is necessary in
this instance to give the h with the proportion number when % must be used; and hence b accompanies
the proportion number for the same reason.
It must be especially observed that here the indentations A B and O D (fig. 2, pl. 4), and also A B
and C D (fig. 8, pl. 5), must be taken from h and not from b. Particular stress is laid upon this, because
the indentations appear to be breadths of the figure ; but they are neither breadth nor height, and must
therefore always be taken from the smaller of the two quantities h and b, which in this case is h. It has
already been observed in the division Mensuration, that the cause of this proceeding is explained in
Anthropometry; but those who have not made this science a study must take its correctness for granted.
Tt may, however, be remarked that the figure of a man of broad form does not in proportion fall in (carry
so much indentation), in the iliac region, as the figure of a proportionate person. It must be observed
that the proportion numbers do not alter with the differences of form, as the models of proportionate and
broad forms show on a comparison of them, because the alteration ensues by itself through the units of
the proportion measure, see Mensuration. If it is intended to construct a model of a broad form from
a ready prepared proportion measure pl. 1, then it is of that kind, as treated of in the second case, paragraph
9
twelve in Mensuration. But then in the construction of this model two of those measures are used; the
lengths and indentations are taken from the smaller one, which is here the ground length, and the
breadths from the larger one, which in this case is the breast measure; for instance, suppose the ground
length to be 56 inches, and the breast measure 21 inches, and the real size of the waist to agree with the
normal size of the waist in this breast measure.
{| 19.—The style form in the broad model is obtained in a manner similiar to that in the proportion
model; it is, however, to be observed, that on the hind part the breadth of the style form is obtained by
adding the half of the difference of the two quantities 62h and 6%b to the smaller quantity 62h, as
shown in fig. 1, pl. 4, and fig. 2, pl. 5. The mathematical expression for the above is this: The breadth
of the hind part A B= 62h + (ee) That number is taken which is at the time demanded by
the proportionate form in the breadth of the back, being at present 6% (see the proportionate model). It
must become clear that it is perfectly correct to reduce 626 in the back part of a broad form, when it is
considered that a man of broad figure has already too much in breadth to appear beautiful, and for this
reason art may lend its aid to avoid any appearance of being too heavy or too broad, when it can be done
suitably and without any injury to the fit.
The normal length of waist, C, in fig. 1, pl. 4, and C, in fig. 2, pl. 5, is arrived at in a similar manner
to the breadth of the back in the style form. Here also is the half difference of the two quantities, 8 h
and 8 b, added to the smaller quantity 8h, to obtain D C; and hence it is 8h + ——) =iDC, Ibn
fig. 1, pl. 4, again lies the natural or real length of the waist, and the style length of waist, with the
normal length of waist in one pot, which means to say these three quantities are all of the same length.
Opposite to this in fig. 2, pl. 5, the style waist length E lies deeper than the other two lengths, which
lie in this case also in C; meaning that the style length of the waist is larger than the normal length,
and also larger than the real or natural length of waist.
C, ACCORDING To THE FORM OF THE FIGURE, h > b, 0; NORMAL FORM IN DIMENSION.
WT 20. This form, h > b, and o, is that obtained in the third case of paragraphs eight and ten, in
Mensuration, by comparing their relative quantities, and fig. 1, pl. 7, represents a proportion measure
of this property. On this figure A B is the breast measure, and B C —+4 ground length; and farther the
same figure shows that the unit h in B C is larger than the unit b in A B, meaning that h > 6; and also
that the real size of the waist R, (see E F), is equal to A o, indicating that R is equal to the normal size of
the waist (N); for which reason o is marked in AB at D. Lastly, according to this measure the models
in pl. 6 and pl. 7 are constructed.
Tt is again in the construction of models of this slender form, as with the foregoing given in paragraph
sixteen, with the difference, first, that in fig. 1, pl. 6, the quantity A M is equal to 130 plus O A. This
0 A is at least equal to +, but it must be taken larger according to circumstances, depending on the
height of the figure in the axilla; sometimes O A=}, at others equal to. But however large this
quantity, O A, may be, whether it is 1b, 3b, or 3b, or even more, F G in figure 2 must be the same quan-
tity also, namely O AGF; and hence invariably F H=83}6+GF. And farther, as in this case,
OA—}b, so also G@ F =}, therefore it is here also that A M120, and H F —3}0.
Second, the normal length of the waist, G, fig. 1, pl. 6, is found when half of the difference between
the two quantities, 8 h and 8 }, is added to the larger quantity 8h; viz. the mormal length of the waist
CG=8h+ —— In this model the real length of the waist again agrees with the style length,
and the normal length, so that all three become equal, and fall upon the point G. Opposite to this it
will be seen that the style waist length D, fig. 2, pl. 7, falls deeper than the normal waist length B; for
which reason this form is termed a long-waisted form in style.
10
Third, the indentations I K, B C, fig. 2, pl. 6, and I K, F G, fig. 8, pi. 7, must be taken from the
smaller of the two units h and b, which, in this case is b. It is repeated here as requiring particular
observation, that in none of the figures are the indentations either height or breadth; and in the construc-
tion of the models, they must always be taken from the smallest quantity, whether it may be h or b.
All the other quantities, in models of a slender form, are to be taken from D, as seen in fig. 2, pl. 6, where b
is given with the proportion number. The proportion numbers are, for the greatest part, not written out
with the model, on pl. 7, because this model is of the same form as that on pl. 6. ‘The two models are
only distinguished from each other in this particular, the one on pl. 7 being of a long waisted style,
and that on pl. 6, is a short waisted style. The styles have been already under consideration in
paragraph 17, in the proportionate form, and therefore do not require any further description in this place.
q 21. As now Anthropometry comprehends three different kinds of form in the human figure,
namely, in the height of the figure to its thoracial circumference, and, therefore, according to dimension ;
even so have we here also under the divisions A, B, and C, three different forms of models, taking their
length in relation to breadth, also according to dimension, namely the forms, h—=b,0; h<b,0; and
h>b, 0; all three of which are constructed conformably to a normal, or erect position of the figure,
which was alluded to in paragraph 15, as being tacitly included in the forms. ‘hese three forms are,
therefore, termed normal forms of models in dimension and position; there are no other kinds in exist-
ence ; all deviations from them must be abnormal in dimension, or in position, or abnormal in both dimen-
sion and position, which will be fully considered at a suitable time.
It may now be readily seen that the normal forms are those especially requiring exactness, before
the construction of any other, or the abnormal can be attempted; for they are the starting points in the
movement towards scientific thinking in systematic order in the construction of all succeeding forms.
In Anthropometry it can fairly be observed that there are forms in the human figure under the class
h <b, and also under that of h > 6 which can be abnormal in these dimensions. But as the human figure
in this respect, namely in the whole height to the thoracial circumference, is very rarely so far abnormal as
to render it necessary that it should be taken into consideration in constructing models for the arrangement
of drapery, this abnormality becomes here of no moment, and it is thought better to leave such in
Anthropometry, where it is a purely scientific question, for detecting laws of formation in living nature, and
especially those relating to the human figure. So, the abnormal form in dimension, the size of the waist to
the thoracial circumference, is only to be taken into consideration, when abnormal form in dimension is
spoken of, which will be next treated upon.
1]
MODELS FOR DRESS AND FROCK ;
ACCORDING TO THE FORM OF THE FIGURE, ABNORMAL IN DIMENSION.
A, EXPLANATION.
q_ 22.——The form of the human figure, if abnormal in dimension, is known through the differences
D~; Dy; and Dj on the measure, see paragraph 10 mensuration. Hence, if we have a measure showing
according to paragraph 8 that h= 6, and in the same time in paragraph 10, that a positive difference
D? exists of the first degree, or in other words a first increase; then we have the form:
(== 08 DSF,
according to which the model to the human figure can be constructed, which agreeing with the form of the
figure is termed a proportionate and abdominal model of the first degree. But if, according to the two
paragraphs 8 and 10 in mensuration, we have h =}, and in the same time the positive difference D% of the
second degree, or in other words a second increase, then the form is:
ea, ID. IDE
and according to the model which is to be constructed, agreeing with the form of the figure, is termed a
proportionate and abdominal model of the second degree. It must here be observed that when a second
‘positive difference Dj; occurs, while there is already a first positive difference, D+, the construction must
not alone be with Dz, but D{ and D}# taken together constitute the form as given above.
Lastly, if the measure shows that the form of the figure has a negative difference D~, in the size of
the waist, and is determined through h = b, and D-, then the construction form is:
04D
after which the model is to be constructed, and which, according to the form of the figure is termed a pro-
portionate and negative model.
{| 23.——These three cases of the variable differences, D+, Dj+, D-, which, have been considered
in the preceding paragraph are presented not only in the proportionate form 4=—=b, of the human figure,
but they also occur in the broad form, hk < b, and in the slender form i > 6. Hence there are still the
following construction forms ;
indy 1 ea), IDR kay 1D) AD)are thal e (iy, 1D
second, h > 6, Dt; h>b, Dt, Dh; and h>b, D-.
according to which models can be constructed.
These include all the cases which can occur in the size of the waist of the figure, and in the construc-
tion of models are termed abnormal in dimension.
It is not necessary to give examples through constructed models of these cases of the differences in the
three forms h = b,h < b, andh>b; but it will be sufficient to exemplify them through models, on one
of these forms only. As the form h < }, may be always taken as an example with more advantage than
either of the other two forms, if we show the cases of the differences of the abnormal forms, so this form
h < bis especially chosen through which to give examples of the differences in the models, and the student
will find no difficulty in laying down the two remaining forms for himself.
B, constTRUcTION.
q 24.——The measures which fix the units belonging to the form in construction need not again here
be fully described, having been already given in the article on mensuration, but still they accompany each
model. PI. 8, fig. 1 shows one of these measures, and the construction form from it is as follows ;
a) h<b, Dt,
and which after the form of the human figure is termed broad and abdominal of the first degree. The
construction of the models according to the form, h < 6, has also been treated of in paragraph 18, and
12
there only remains D¥ to explain. We may farther, as in paragraph 18, take the proportion measure in
its ground length equal to 56 inches, and in the same time the breast measure 21 inches. In this manner
we must take the real size of the waist (R) which is not larger in size than C I, as the breast measure C D
shows, but which must be larger than C 0 on the same measure, as shown by CD. The difference of the
real size of the waist A BR, and the normal size of the waist C o—=N, is here F G—=Dt.
Now we take # Dt, of the whole difference D+, and add that quantity to the front of the forepart of the
model, (fig. 3) in the size of the waist, so namely that F G=#? D4; the remaining + D } add behind in the
size of the waist, so that C B= Dt, as is sufficienty shown by the figure 3. We proceed in a similar
manner with fig 5, hence no farther explanation is required. his is a model of the same kind of form as
fig. 3, with the exception that it is long in the style of the waist, already treated of in paragraph 17.
Pl. 9, fig. 1 shows another of these measures, according to which the construction form is as follows:
b) Ib by 1D BID)
and after which the model on pl. 9 is constructed, and agreeing with the form of the human figure, is
termed broad and abdominal of the second degree. As this model in respect to the form h < b, is the same as
that on pl. 8, there is here also but D+ and D# to be considered. The measure also, fig. 1, pl. 9 is the
same as that on pl. 8, with the exception only that in fig. 1, pl. 9, the difference is H G—=D t, of the
second degree, which was not the case in the other measure,
To add the difference D + and D % correctly to the normal size of the waist on the model we proceed
as follows: when the construction of the model, fig. 8, pl. 9, is brought so far as the line D B, then put
the real size of the waist A B (fig. 1) on the breast measure C D to mark the extent of the difference
H G=D}; then take 4 D # and make A B= 3 D& (fig. 3), and in the same time add in front to the normal
size of the waist ? D+, and 4 D¥# to it; sonamely LM+ MN—2 D+ +iD%, and make LO—LN;
now draw D C, and erect upon it in D under a right angle the line E D, and finish the construction EF G,
and EH. Lastly, make H G—z D {and we have completed the construction of the model. Fig. 5 is
proceeded with in the same manner, with the exception that here M P—MO, andP Q=4#h; because a
long style form is in proportion shorter in the front than a short style form; as the drapery otherwise
assumes in the front on the figure a heavy and dropping appearance, and ill becomes the figure, especially
if it is positively abnormal.
Pl. 10, fig. 1, shows a third measure giving a construction form as follows:
c) li SO; 1
and according to which the model on pl. 10 is constructed, and which after the form of the human figure
is termed a broad and negative model in form. As this model is again in respect to its form, h < 6, the
same as those in the two other preceding plates, we have but D~ to dispose of, and also the measure is
the same as in the two preceding cases, with the exception that here is a negative difference F G—=D-,
whereas the difference in the two former measures was positive.
To deduct this difference, D-, correctly from the normal size of the waist in the models, we proceed
as follows: When we have come so far with the construction of models, fig. 3, pl. 10, as to reach the point
A, then first place the real size of the waist A B=R (fig. 1) on the breast measure © D, to observe how
large the difference, F G==D-, is, and then make (fig. 3,) A © = 7 D-; further draw DC and erect upon
it in D the line D E under a right angle; draw EHI; make 1K=4D-, finish EK, and make lastly
LM= ;D_-. Fig. 5 is proceeded with in exactly the same manner as explained in fig. 3, and therefore for
this reason nothing farther is to be remarked, than that the model is of a long style form, which has been
already treated upon.
q 25. It is perhaps superfluous to give a second example of the negative difference ; but it is
better to present one more, than one less than sufficient. Thus fig. 1, pl. 11, shows a measure according
to which the construction form is as follows:
(RES oy IO,
after which the model on pl. 11 is constructed and is termed, according to the form of the figure, slender and
negative. As this model in respect to the form h > 6, in {| 20 is treated upon, we have here to place D—-
i eee
13
as above. ‘The measure also fig. 1, pl. 11, in respect to the size of the waist is the same as that just treated
of in @ 24 under c.) therefore in this model all farther explanation is unnecessary, and to represent the
measure and model on the plate is quite sufficient.
The construction of those models which are not given is also equally easy ; namely, those according
to the construction forms 4 > b, Dt; and h > 6, Dt, Dt, in @ 23, second case; and farther those
under €] 22,h—=b, Dt; h=b, D{, D&; and h=b,D-, according to which the student can easily
construct the models himself.
It may lastly be observed that when we term models slender, broad, or proportionate, and no difference
occurs in the size of the waist, that such are normal in the size of the waist, and in this the difference is 0 ;
and farther if a model is simply termed slender, broad or proportionate, it is always considering its length
in relation to its breast measure; similarly as in Anthropometry the height of the human figure is only in
relation to its thoracial circumference, when termed slender, broad, or proportionate. In general, all that
which is true of the external form of the human figure, must also be true of the form of the models.
C, PLACING OF THE PARTS OF THE MODELS.
q 26.——After we have constructed, according to {| 16, the hind part of the model, and proceeded so
far with the forepart as instructed in (| 16 and 17; then we place the hind part (fig. 2, pl. 12,) with its
acromial point A in the acromial point A of the forepart, so that the levator line A O of the back part
falls in the levator line A B of the forepart, and the levator vertex, O, is fixed. Now draw the parabolic
line MOD, and in the same time another line MCD, so that CO=+ unit (uw). The parabolic line
M O D is exactly the form of the human figure on the superficies in the collumial section, if the surface
lies in a plane; but as something is always worn round the neck, as a cravat, the collumial line M CD of
the model must be larger than the same line MOD in nature; hence the reason of this alteration. In
this position of the hind part to the forepart, the style line E finds its place by itself, and there needs only
the shoulder line F of the forepart to be so drawn, that both lines on E and F, in the middle of their
lengths, lie so far asunder as + unit, uniting at the ends, as the figure shows.
fo) 2 A 2 to) b=)
Second, place the scapula point G of the back part in the scapula point G of the side part, so that the
two scapula lines M G and GI lie ina straight line MGI; afterwards draw the line HI A, and the
line H K; and make K L = 23, if the style is short, but if long only 12 as directed before, in {| 17.
Third, in figure 3 keep the hind part fixed in the scapula point G, and move it round this fixed point
G, with the point K of the back part in the point L of the side part. Holding the parts of the model fixed
in this position, draw first the side line N i M K, remove the back part, and then draw the side line Hi o0 PY
of the side part, draw g/m, and the required object is attained.
Particular attention must be given that the back part in 07 N must not be too contracted in joining
with the side partoz H. And also, (fig. 2) HI is to be held rather easy on the sleeve, and I A to be held
tight; but A P must again be held easy. ‘The style line also EP of the back must be held slightly easy,
and the shoulder line F P of the forepart somewhat tight; the collumial line M C D in the direction of C
held tight, and the collar part here kept easy. The facing also must in this place be rather large: because
the human figure is here trom the axilla to the neck, in the levator vertex, concave; but towards the front
in the sternal end, the forepart must be kept a little easy to the collar part. In general by placing together
the parts of the model, it is similar to placing together the surfaces which are developed from geometrical
bodies, and which surfaces by being joined are always according to the nature of the convexity and conca-
vity of the bodily form, and according to the nature of the lines or curves in the surface.
q 27. ‘What little is to be said of the construction of the collar part of the model may stand
suitably in this place, On plate 5, figure 4 presents the collar part, the proportion numbers of which
accompany the ground lines, (co-ordinates); hence there is no difficulty in the construction of this part.
But it must be correctly understood, that the angles C E F, and H EG, are always right angles, the
position of which is fixed to one another through the acute angle G EF. The surface of the collar part,
14
where the angle G E F lies, becomes larger than it would be were the two right angles placed by the side
of each other in a straight line. This must be so, because the surface in A KE and E H is laid over, and
further, that the end A is bent towards the end H, when the finished dress is placed on the human figure,
thus producing a double curvature of the collar part, hence making such position of the angles necessary.
This rule applies to the three kinds of collar parts presented on the remaining plates.
As in practical application, the lappel part joins to the collar part of the model, a few words are to be
said which may follow here. On plates 6 and 7 are two lappel parts, one being given to each forepart of
the model. There is drawn, in this part, a dotted straight line, which is made the length of the forepart
in the front, measured straight, without the skirt, if a frock, and if a dress, as long as the forepart, including
the skirt strap. The side of the lappel joining to the forepart must be straight as the dotted line, or only
very slightly convex, as the full drawn line running by the dotted line shows. The curvature on the
forepart must be held so easily to the lappel part, that both, in putting together, come in a straight line.
D, SLEEVE AND SKIRT PARTS.
q 28.——The construction of a skirt part of the model is always the same, whether the model belongs
to a proportionate, broad, or slender human figure, or whether normal or abnormal in dimension, or normal
or abnormal in position; the difference of the skirt part being only that of costume, as for instance, whether
it is for dress or frock. On plate 12, figure 5 are two ordinates, A B, and B D, under an angle
A BD=107, which is the ground work of every dress skirt part. Farther, B E=% or $ unit of
the measure, figure 1; C H=q 1m n (see also figure 3); C D= 14, which is added to C E for ease on the
hip. The D o=1 fixes the position of the curve o E, and the line E A is drawn by free hand. Those lines
above D, and below o are drawn only in cases, where as much as they lie higher or lower than 0, are
again, in the front of the forepart of the model, to be deducted from or added. The dress skirt of the
model on plates 3, 4, 6, and 7, are always so constructed, and need no further explanation.
It is with the frock skirt part exactly as with the foregoing, and one example will suffice for every case.
Plate 12, figure 4, shows a frock skirt part. Draw a straight line P C, and make K L equal to the breadth
of the lappel; farther, make K B=} real size of waist (R), take a point, E, D, or C, in the line K C, as
high as the quantity that the skirt surface is intended to be more or less full. Now draw the curve, say
K F, out from the point C, and make F B=BK. But the curve, F L, from the B towards L, must be
drawn by free hand, rather more straight than the circle gives it, otherwise the skirt part in the front would
fall too full on the figure. Next place the side part of the model on the skirt part, and draw O F with the
side line running with it in one direction. This proceeding is a precedent for other cases, when the curves
K H and K I are drawn out from E, or from D, or from other points in K C which may be chosen,
There is another mode of drawing the skirt curve, but which is not so generally applicable as that just
described and which is only of practical use when a small quantity is required in the skirt surface. This is
to make A K=q 1m n (figure 3), and then take the point F out from the point A as high as the quantity
that the surface of the skirt is to be. But this rule requires to be limited, and we can, correctly speaking,
only say: make A F=8 high, not more, although it may be less. Next draw the curve F K out by free
hand. With the line O F we proceed just as in the first method. In the manner last described, all frock
skirt parts in the foregoing -plates 2 and 8 are constructed, hence it is not necessary to repeat the
explanation.
29. The sleeve parts of the model somewhat differ from each other in their construction, accor-
ding as the model belongs to a broad, or either of the two other forms of the human figure. Plate 6, figure
4, shows a sleeve part belonging to the slender and proportionate model; it is the same in each of these
two forms, with the exception that the elbow length of the slender form is in proportion larger than that
for the proportionate form ; but such is always determined by the measurement. It is, therefore, principally
to be observed to fix the following proportions, namely, A C—10, or A C= 10}, as the sleeve part shows
on plate 2; or when the human figure is round in the back, then make A C= 103, or even 10%. In the
slender form all these units must invariably be taken from b, and never from h. In the proportionate form,
naturally, 4 is not to be distinguished from 6b, because in this case h==b, as already is known. When the
15
point A (figure 4, plate 6) is fixed, then draw a perpendicular A E upon A C in A, and as C B is equal to
the style breadth of the hind part, carry from B, out towards E, the half arm-hole circumference (¢ axillar
line circumference), so that B E=+ of the axillar circumference. Farther, take the half B E in F, erect
in F, upon B £, a line F G, and make F G=iBF. Out from the point G, as a centre, draw with the
distance G B a curve, B H E, go inwards at D as much as 1}, and finish the sleeve part as the figure
shows.
Should the sleeve part belong to a broad model, the course of proceeding is generally the same as that
just described, with the difference that the quantities are taken partly from / and partly from 6, as seen by
the figure 5, in plate 5. It is necessary to avoid confusion with the two points D and B; because by the
previously named sleeve parts they (D and B) fall together in one. To be quite clear in this matter, it is
only needful to consider that always A D+ D C= A C, wherever the point B of the back part may lie.
We have now considered all the parts, which, when put together, constitute a model of dress or frock.
We have besides considered, all kinds of forms of dress and frock, according to the different kinds of
forms in the human figure, in respect to dimension ; consequently the construction is accomplished which
was determined in the commencement.
17
ON VARIATION.
MODELS FOR DRESS AND FROCK.
A, ACCORDING TO THE FORM OF THE FIGURE IN RESPECT TO POSITION.
gq 30. The variations of models are of two kinds, the first is made according to the position which
the human figure has; the second according to the style of the costume which clothes the figure. The
variation of style in the costume is considered in the article on style, but here we will first treat of the
variation of the models according to position. And just as the construction of models in their dimension
form was only made according to the dimension form of the human figure, so the variation of the
models is always with regard to its position. And as farther the positions in all dimension forms are the
same, so it is the same thing whether the one or the other kind of dimension form is chosen on which to
give examples of the variations of the models. Hence such may be done on that form of model which
originated under the construction form, h—=bo, and therefore, the reason of the measure, fig. 1, pl. 18.
But it must be remembered that the dimension form of the model, under the preceding division on construc-
tion, must still be constructed according to a certain position, which is according to the normal position
of the human figure, as already in @ 15 has been described. Such a model of normal position, is that
which lies between the inclined and the straight model, see fig. 3, pl. 13.
When a model which lies in a normal position is varied, it must be done according to the abnormal
position of the human figure, such varied forms being shown in the straight and inclined models in fig. 3;
then where the position is normal, the position difference is equal to, 0 (do), that is, there is no difference
existing. But where there is an abnormal position there must always necessarily be a difference between
that, and a normal position; something at least, however large or small it may be, for instance, da, d y, &e.
&c,, where d # as well as dy present an increase of a quantity, and —d x, and — dy the decrease of that
quantity: dis no quantity, but merely a sign placed before the quantities x y, &c., to remind that these
quantities are differences ; and the stroke (—) is a sign to denote in the same time that the quantity —dy
is opposite to dy, as DB, BC, on A Bin fig. 2 show, where A B denotes y, and instead of dd, dy is substi-
tuted. Consequently in the same manner as dimension differences exist, so also position differences exist ;
and these latter are actually the elements through which we vary the model as will soon be shown. But
before going so far the following is still to be observed :
When the human figure is small in the back, it may be supposed that the forepart of the model must
be inclined, and deviating from that forepart in a normal position (see fig. 3, pl. 18), so namely that the
surface contents of the model in the back become less than such in the normal position of the model; and
farther that the levator vertex, V, approaches nearer the scapula point (scapula vertex) F, than these points
lie to one another in the normal position ; also that its altitude in this case, is less, and at the same time the
altitude of the infra spinatal point O is less, than in the normal position (R); compare the levator vertex,
V of the inclined, with that of the normal model, which lies in the middle of the two vertices V and V’.
Through this variation the diagonal V EF, as well as the surface of the model in its contents, become less
than the diagonal and surface contents when in the normal position. In the reverse: when the human
figure is large in the back, the forepart of the model must be straight, deviating from the forepart in its
18
normal position, as fig. 8 shows; so, namely, that the surface contents of the model in the back, becomes
larger to it than when such was in its normal position; and farther, that the levator vertex, V’ is farther
removed from the scapula vertex, F, than these vertices in their normal position lie to each other; also
that its altitude is larger as well as the altitude of the infra spinatal point N, than when these points held
their normal position, (R); so namely that in this case, if the diagonal V’ E F is drawn, it is larger than
it would be through the vertex in a normal position ; and hence also the surface contents of the straight
model is larger than that of the normal.
It must farther be considered that in these variations the cireumferences of the three models
remain equal to, although their form as well as surface contents are different from each other; for as much
as one part of the figure becomes less, just so much the other wins, and the entire in its circumference
remains equal to itself: because there is no variation in dimension, but merely in position conditioned.
With this short introduction to the variation of the models it will be found very easy to undertake them.
4|_ 31.— When now the human figure is larger in the back through its position, than it would be
normally, the model constructed to the normal position must be varied, so namely that it harmonizes with
the abnormal position of the figure, large in the back. But being large in the back is not a simple, but a
complex condition consisting of shoulder forward, back long, and thoraw inclined forward on the pelvis in the
iliac region. Hence we have to observe the three following differences: namely the BC = d i in the
shoulder (the acromial difference), which the scapula spine line A B on the back part fig. 5 shows; farther
the sines (scapula differences) F G = 1, and F H =} in the angles GEF, and FE, fig. 3; orif we do
not use the differences G F and F H, the hind part in the normal position F K may remain, and only the
indentation line MI is made as much as I K =} larger, and afterwards the infra spinatal point N placed as
much as ¢ higher and more forward, than the normal line P Q lies. But the most correct method is to put the
scapula vertex F of the back part in the scapula vertex G of the forepart, to find the point N; and to find
the point K, to put the scapula vertex F of the back part on the scapula vertex H of the forepart, and in
this position of the back part to make the indentation only as great as its normal quantity shows in the
article on Construction. Lastly, as large as 1K is on the side part behind, must be S T in the front on the
forepart, and in the same degree that the side part in the iliac region K becomes smaller in breadth, and
greater in length, the forepart also becomes larger in breadth in the front, and less in the length, as
§ T= 1K shows.
The pointed lines X Y and X Z% on the shoulder fig. 3, are identical with the A D and A C of the back
part, when the acromial point D, and C, in the acromial point X of the forepart is so placed, that the
levator lines D L and C L, fig. 2, lie in the levator line X V of the forepart.
As the angle G E H is always equal to the angle b Ka, so are the openings GH and ba also equal to
each other, if the legs are of equal length, as GE = Ea, and H E= Ed; hence it is clear that the quan-
tity of the sines GF and F H always influence the length ba of the breast part, which is worthy to be
observed, so as not to fall into the error that it is indifferent whether the sines GF and FH are less or
more in quantity, but well to consider, that they must have a fixed ratio to other differences.
That a scapula difference is only equal to 4, when an acromial difference equals } need not surprise ;
the cause being that E F is only half as large as EV, and also only half as large as FI. A still further
explication of the nature of the variable physical quantities comes under Anthropometry, which subject,
treated in the abstract, belongs to pure mathematics.
q| 32.——But when, opposite to this, the human figure in an abnormal position is smaller in the back
than when in its normal position, the proceeding in the variation of the model is the same as above. There
is in this case as in the former the same number of differences, namely those which arise from the shoulder
back, back short, thorax inclined backward, on the pelvis in the iliac region, only with the exception that
these differences are opposite to the quality of the foregoing. For instance (fig. 6) the scapula line AB
shows the acromial difference BD —=—d4 ; for A B here decreases, in the same manner as in the above
case fig. 5, the A B increased } unit. Farther there are also the sines FG and FH of the angles GEF
and F EH to be observed (fig. 3), when the back part is placed to obtain the infra spinatal point O, which
19
is done by placing the scapula vertex F of the back part in the scapula vertex H of the side part; and to
obtain the infra spinatal point L place the scapula vertex F of the back part in the scapula vertex G of the
side part, and make the indentation quantity as large as that taken in the normal position of the parts. But
if we leave unobserved these scapula differences, G F = d4, and F H — d}, and proceed less exact, the back
part may be left in its normal position, as F E shows, and only the small portion RO—=+# lying below the
line P Q be taken away, and in the same time take the indentation quantity M I as much as LI = } smaller.
It is now quite clear that the scapula line W F of the back part must always be in a straight line with the
scapula line of the side part, whatever may be the position of this line FE, namely as GE, or as HE. The
forepart will here again be disposed of as before ; namely, in the same degree that the side part in the iliac
region becomes larger in breadth and smaller in length, so will also the forepart in the front be smaller in
breadth, and larger in length, as TU = LI shows. It is important to observe that although the acromial
differences are always double as large as the scapula differences (and hence is d} and d4), in both these
cases of variation, the altitudinal differences in the vertex V of the levator scapula, and the infra spinatal
point R, remain equal to each other.
33,.——Comparing, lastly, the two cases large and small in the back, with each other, it is seen
through the foregoing proceeding that in the first case F E is in effect cut up for the insertion of the wedge
G EH; opposite to this, that in the second case, as if the wedge G EH were taken out, and GE and H &
joined in a line. As now such putting in and taking outis of no practical avail in constructing a model, the
variation as instructed, must be adhered to. But the entire quantity that the back is shortened or
lengthened does not lie in the scapula region alone, as the half lies in the iliac region, on account of the
backward or forward inclined position of the thorax upon the pelvis; hence the shortening in the one case,
and the lengthening in the other, of the side part of the model in L,I, K, in the same time that such was
done in the scapula vertex (see fig 3). On the hind part the entire shortening or entire lengthening of the
back is always taken from, or added to, the normal back length, as G C is taken off in fig. 6, and DG added
in fig. 5. The differences GC and DG (figs. 5 and 6) are easily found, by placing the natural back length
on the normal back length (see for instance fig. 2). Here is KG the normal back length, and K I as well
as K Hf the natural back length, hence IG is a difference in the iliac region, when the human figure lies
backward in the thorax, and G TH] is a difference when the thorax lies forward upon the pelvis. The same
with the figures 5 and 6. In figure 4 in the back part there is nothing to be observed, because the normal,
is equal to the natural or real back length. Farther, through the variation above described in the scapula
vertex, or otherwise through the variation of the infra spinatal points (side points of the side part) the back
part regulates itself, so namely, in length to the side part, that this half shortening, as well as half lengthening,
falls, or is carried to the scapula region G H.
Farther, although the style part of the back is, in the form of a varied model to be taken at liberty, still
for greater distinction it is to be recommended to the commencer, to keep so far to the original form of the
model in its normal position, as the heights of the two points of the back part between the parallels A B and
C D show (fig. 4), and hence the parallels are drawn in all the back parts. The breadths also E F—= 6% of
the style form of the back part are always drawn first, after which add, as the variation requires 6% + df,
or deduct, as 63--d7z. As an example, fig. 6 is small in the back, and fig. 5 large, as figures 2 and 3
make more clear. But whether the style form of the back part is altered or not, it is immaterial to the fit,
when only the ground work is correctly varied according to the differences above described; still taste
requires the correction of the style form.
As the student will now by himself be able to construct the cases in fig. 3 separately, in a similar
manner as figure 2 is separately constructed in figures 4, 5 and 6, he may proceed to the remaining cases of
variations.
q| 34.—The normal form of the models in pl. 14 is constructed to the accompanying measure, fig. 1,
which calls for no extended explanation in this place; but the variations are especially to be observed.
Those of the models in figures 2 and 3, are made according to the condition, that first, the human figure is
high, and second, that it is low in the axilla. First, when the human figure is high in the axilla, we take,
as in fig. 2, the normal quantity A B larger than itis; that is, allow it to increase as much as the quantity
AC, or according to that degree which the human figure more or less may require. For instance, as the
20
increase A C = } unit of the proportion measure, fig. 1. But as much as A C is an increase of A B, must
D E be increased also, namely that D F—=AC. Now F L must be drawn, and also the style form C GH
corresponding to the new ground work. Next in fig. 8 increase the normal quantity A B, so that the
increase, A C of this quantity equals A Cof fig 2 ; then draw in the same time HG. Ifeach acromion L and G,
and the levator lines H G and L F of the two figures are placed in one another, as described in the article on
placing, €] 26, the position of the acromial line EK F, in fig. 8, comes by itself. Second, if the human figure
is low in the axilla, fig. 2, the normal quantity A B decreases, say, as much as A [= 3} unit, but in the
same time D E must just so much decrease, that D K—= ATI; draw in the same time K L, and also the
style form I M H, to harmonise with the new ground form K L. Now let in fig. 3, the normal A B just
as much decrease, that A I= A I of the figure 2; draw D G; place the acromion points L and G, and the
levator line K Land D G one in another, according to the rule given in the article on placing, so results by
itself the position of the collumial line K B.
q 85.——Among human figures there are forms, which although straight in the upper part of the
thorax, lie more forward in the lower part in relation to the upper, than they do in the normal form. ‘The
best way to vary a model of this form, as fig. 3 shows, is, to vary the normal side line in the abnormal L M,
and afterwards for this deduction from the side part to add as much in the forepart in the front, as seen in
OP. ‘The model may also in the same time in the side, be drawn as Q R and QS show. This quantity
may be taken larger, according as the human figure from side to side in the iliac region and hips is more or
less large. It often occurs that the human figure is very large from side to side, and in the same time very
small from the back to the front. Should there be a case that the figure is both very projecting in the
scapula region L, and in the iliac region RS, and the rules for the variation as above described not be
observed, most certainly the other parts of the model, through such a form of the figure will be disarranged.
But with the observation of these rules, not only will the fit, as well as comfort be attained, but also taste in
the drapery of the figure. Then, should the model in M be too large, and too small in L and §, not har-
monising with the form of the figure, there will be a fold in the drapery from § to L, which will destroy all
the beauty of the figure, because the fold prominently shows its fault.
| 86.——When the head of the human figure is inclined forward, the model is to be varied, as fig. 4
shows; namely, take the normal A B as much as B C — } unit larger, and draw the collumial line C V D
through the vertex V. The point H must not be taken off from the shoulder, which is sometimes erro-
neously done, but remain unaltered as it results from the variation: because the C V is already smaller
than its corresponding normal B V. Also the entire length C V D to the entire length of the normal B V E
remains equal; as the condition of the variation is according to the position, and not according to the
magnitude of the collumial line.
In the case of the head being inclined backward, the variation of the normal B V E is made as F V G
shows. Also here the varied F V G of the normal B V E remains equal to itself in the entire, although
the parts vary just as before, namely that F V here becomes larger, and V G smaller, and for the same
reason, that the position only, and not the quantity of the collumial line is varied.
q 37.——On fig. 4it is shown in the same time how the model varies when the hips lie higher, and
when they lie lower in the human figure than their normal place admits. If the former, draw the line I K
through the normal point L, parallel with the line M N, and take the point I as much higher above L, as
the difference, I L, between the normal and the abnormal position of the hips requires. The difference I L
is certainly more than 4, but at most 3 of the smaller unit of the proportion measure. It is similar when
the hips lie lower than their normal position in the human figure admits. In this case the point K is the
place on the model which is determined through the difference L K =}. In the first instance when the
hips lie high, draw the line O I; in the second, where they lie low, draw O K, and the normal place L of
the model is varied according to the given condition. Just as we proceeded with the side part behind, so
we must proceed in the front with the front part, in P,asQ R and S R on fig. 5 show. Lastly it is by
itself plain, that after these points are determined, the curve from behind to the front out of I and K (fig 4)
must be drawn concentrical with the normal curve LN P. This variation is especially observed, so that
the parts of the models in the iliac region shall remain in their normal ratio to each other, and that the
harmony of the model with the human figure may be insured.
21
If in some particular costume the model shall be made longer in the front, and remain unaltered
behind, or the reverse, longer behind, and unaltered in the front, independent of the form of the human
figure in respect to the hips being high or low, then the skirt part undergoes a variation according to that
of the model in the body part; with this exception the skirt part remains unvaried, through all the varia-
tions of the body part. But this is treated of in the style part on costume.
4] 38.——When the human figure is high in the shoulder (acromion), keep the hind part fixed in the
vertex V, and let jt move round this point out of the position V A, into that of B V, so namely that the
difference A B= 4, and the shoulder surface takes the position CD E. Now draw EF nearly 1 higher
than the normal E H lies, and the condition is completed as shown in fig. 5.
When the shoulder (acromion) lies low (fig. 5) hold also the back part fixed in the vertex V, and
cause it to move in this point V, out of the normal position A V, in the abnormal position IV, just as
much as the difference, A I —} is large, and the position of the shoulder surface K L. N is obtained; but
also in the same time the normal E H G must bealtered in the abnormal M H N, as the difference E N = x
determines ; and that also the difference G M — , and the height of the point G so much sinks, that the
point M lies ¢ lower than the point G. This altitudinal difference of + must not be regarded as an insigni-
ficant element: because such belongs to the uniformity of the varied model. Lastly, the normal O G must
be altered in the abnormal M P, and as much as the difference PO —+ determines. It may also by this
variation be brought in mind, that it is not the magnitude of the axillar line, but its position only which
should be varied according to the position of the shoulder, hence showing this proceeding to be correct.
The student will now be able to construct all these cases separately. And it is believed he can, un-
assisted, treat complex ones also. As for example where the construction of a model falls under the
condition: high in the axilla as figures 2 and 8 present, and in the same time low in the shoulder (acro-
mion). This is a very material case, and to construct a correct and beautiful model of this kind, would
prove that the student besides being an artist, is a man of scientific knowledge.
B, THE FORM OF THE MODELS IN RESPECT TO STYLE.
q 39.——In this article it is intended to consider the human figure normal in form, which shall be,
in this especial example, in the same time proportionate, and remain unalterably fixed in form, during
any variations that the style form of the model may undergo. It is now the question how a model is to
be varied so that it shall be fitting, as well as tasteful to the figure. But before proceeding to this
variation, we must remain a moment to consider one or two points, which will serve to lead us to the
undertaking :
Namely, when a measure is taken from the human figure, both behind and in the front, from the
vertex of the levator scapula, beginning longitudinally and perpendicularly upon the thoracial line (places
which are known from the Anatomy, Introductory to Anthropometry) then it is found that these two
lengths in a figure perfectly straight or upright (normal in position) are equal to one another. If these
two lengths (quantities) are also taken with the units of the proportion measure of a proportionate figure,
each of the two quantities, posterior as well as anterior, equals 8} units. These quantities now determine
the height (altitude) of the vertex of the levator scapula; and hence such must also be true of the models.
But this is better illustrated by the model fig. 1, pl. 15; namely, AB is the levator line, which is inter-
sected by the collumial line C V D in the vertex V.
Now place the hind part with its vertebral vertex, in the vertex V of the forepart, so that the back
line V E of the back part, lies parallel with the ground line D F of the forepart, and that in the same time
the infra spinatal point H of the back part is turned towards the infra spinatal point G of the side part :
thus we see'that VI of the hind part, equals VI of the forepart, and the vertex V is the altitude of both
quantities. Farther, according to Mensuration, V I = 83, hence also is the altitude V equal to 8k. And
lastly, the hind part V I stands in relation to the forepart VI as 8} to 84, equal 1 to 1 (abbreviated,
VI: VI=8: 8 —1:1). As now the point G lies equally high with the point H, and we prolong
GH perpendicularly upon V I in K, then is KI = HL; therefore we need only to compare the quantity
22
V K of the hind part with V K of the forepart, when the position to one another of the infra spinatal point
G, with the vertex V shall be examined. Under these circumstances the altitude is normal in quantity,
and the altitudinal difference is equal do.
40.——If it is now intended to vary a model upon the consideration of style, the posterior and
anterior altitudes of the vertex, with which we are now sufficiently acquainted, not only remain unvaried
in their ratio, but also they remain unvaried in quantity, by the alteration. See fig. 2, for an example of
the normal shoulder style varied into a straight shoulder style. The hind part belonging to this shoulder
is not to be varied. To obtain through variation a straight style of the shoulder, when in the same time
the axillar line, and also the collumial line become smaller than the corresponding normal lines, it is only
necessary to decrease the normal vertex line G B, and thus there is B D = d4; in the same time decrease the
normal clavicular line A H, and then we have the difference A C—d+4; draw CD. Place now the hind
part as usual, but with its acromial point in the varied acromial point C of the forepart, and the straight
shoulder is obtained, deviating from the normal shoulder, according to the amount of the acromial difference,
and vertexial difference. Remember that the two differences are equal to one another, which is always the
case in this variation.
The proceeding is the same but in an opposite direction, when the oblique style of the shoulder is
required ; namely, the normal BG, as well as the normal A H increases, and the difference B E = di, is
equal to the difference A F =d}. The maximum of each of these differences is commonly only } unit, and
the minimum always more than do, that is more than nothing. The altitude is unaltered in both of the
variations, as O L, and MI, and especially the line P Q, which goes through the three vertices, show.
But now as was required in the straight style, the axillar line IC K, and the collumial line L, H, have
become smaller, and in the oblique style these lines M F N and O H larger than the corresponding normal
lines, so is the knowledge of such variation of great practical use; for through the receding and forward
position of the shoulder, we can not only find the proper quantities of these lines, but also the different and
suitable diagonal lines L K and OK. It must be by itself evident that, when a shoulder is too straight,
the diagonal L K becomes too large, and the axillar as well as the collumial line too small. The
consequence of this would be an especial fulness in K, and a contraction in the acromion C, and in the
neck. The reverse, when a shoulder lies too oblique, the diagonal line O K becomes too small, and the
axillar as well as the collumial line too large ; the consequence of which is again, that the model in K can
become too small, when in the same time in the neck, and the acromion F it would be too large. For this
reason we do not take the differences either on the positive, or on the negative side larger than d}.
41.——See figures 3 and 4, where the shoulder is varied into the straight and the oblique styles:
but which is under the condition that the axilla line shall remain unaltered in magnitude ; and that under
this variation the altitudes of the vertex shall remain unaltered also.
To make a variation according to this condition, let the scapula spine line of the back part decrease,
the same quantity as the clavicular line of the forepart is increased, when the shoulder is to be oblique.
And the reverse, in the case of a straight shoulder, make the scapula spine line increase in the same
quantity as the clavicular line of the forepart is decreased. But in the same time that the clavicular line
increases or decreases as much as d4, the vertexial line increases or decreases as much as d 1. For instance,
in an oblique shoulder, let the normal ordinate A B decrease so much as the difference BC = di; increase
the normal ordinate E F as much as the difference H I = d}, and increase also the normal I K as much as
the difference IM —d1; lastly, place together as usual the back and forepart, but with their varied
acromia, and the required shoulder is given. Farther to obtain a straight style of shoulder, make the
normal ordinate A B of the back part to increase as much as B D — di; decrease the normal ordinate EK F
of the forepart as much as EG —d4; and likewise decrease the normal ordinate IK as much as the
difference 1L—d1; lastly the varied acromia of the back and forepart placed together as usual, give the
required shoulder. ; ‘
The altitude of the vertex by this variation is not altered, which becomes evident if R Q is prolonged ;
and upon this prolongation QS a perpendicular P S$ falls from the point P, after which through P a line
PO is drawn parallel with SR; then PO passes through the three vertices of the shoulder. Conse-
23
quently the altitudes of the vertex remain unaltered, which also the position of the shoulder points T and
V shows to be the case, because they lie in one line T V which is parallel with PO. The axillar lines have
also remained unaltered, as first conditioned; but the collumial lines have not remained equal to each other,
their equality under these circumstances not being possible, though it would be well if they could be made
equal. To come nearly exact, a little may be deducted at F im the one case, and as much added in the
other. Whoever believes that he can by altering the point T or in the other case, by altering V,
obtain the equality of the length of the collumial lines, is in error, because this alteration would immedi-
ately displace the altitude of the vertex, which would be contrary to the condition, and hence cause the
shoulder to become incorrect in its form to the human figure, which must not be, because fit and taste are
the first consideration in every construction.
Fig. 5 presents the measure by which the model on pl. 15 is constructed, and requires no further
explanation.
q 42.—-—See figs. 1 and 2, pl. 16, which represent a normal model so varied that in the lower scapula
region, and also in the iliac region from A to B, it goes closer to the figure than when in the normal form :
lay the shoulder back as seen by CD EFG, under the parallel altitudes of the vertices as much as the
difference d}, or d}, or d%, which is done when the normal IL and KG increase as much as such
differences. But the normal pectoral point M must in the same time take its place in D, so that the
difference M D = K O —I Q;; draw in the same time GH, or otherwise the model would become too large
in the breast (thorax) in front. That this variation is correct must become evident on considering that
through it the model is laid more back in the upper and front part of the thorax in relation to the lower
part, than the normal ratio of both parts in position to one another required ; which is the same in effect as
if the piece DMS R were taken out, or such in A B were taken away.
We have to proceed in a similar manner, but in an opposite direction, to cause A B to go to the figure
less close than a normal ratio requires ; whereby must be again the differences MN — K P—=IT , and the
model becomes in the lower thoracial part as much as the quantity or piece M N US larger, which produces
an effect similar to A BS M gaining in breadth at AB as much as the piece larger than the normal ratio
of the position of the parts to each other demands. We diaw also in this case V H, or otherwise the
model would become too small in the breast.
That the altitudes of the vertex of the varied shoulder have remained unaltered, the parallel position
of the points F, X ; E, W show, as well as the vertices under the parallels Y Z, and Y’ 7.
43.——We have now so far all cases of variations of models gone through, that the student may
proceed without farther assistance. But it may be permitted that we still mention a well known proceeding
which all practicians are accustomed to follow, who only guess at the variations. They make no difference in
the process, whether the original model is constructed according to one or the other system, or to no system
at all. It is especially worthy to be observed,—we repeat—that all masters have the same method, whether
they are conversant with each other or not, and whatever country they may belong to. Hence such a fact
is worthy of investigation.
The figures 3 and 4 on pl. 16 represent the model, in which the back part always remains unaltered,
but of which the forepart according to the proceeding just alluded -to is varied by guess, without a clear
cause for so doing, or perhaps without any cause whatever. Here is ABCDEFGH, the forepart and
side part of the model. First the point A is taken away, and the point I taken instead; at the same time
the point I is placed forward, and becomes the new vertex V, instead of the original vertex, and K L is
drawn. Farther B is altered into M, C into N, D into Q, and then MNO Q is drawn; F is altered into
R, and G into 8, and the lines QE and ER ag well as LS are drawn. The variation or better said this
blind alteration is accomplished, without first having any clear condition or reason given for it. But what
is now the difference between the varied model and the original? this should be known that it may be
comprehended to which of the forms of the human figure the altered model agrees.
Now draw out fully the straight TU, parallel with W O, through the vertex of the original model, as
24
seen in the straight T U, and compare the altitudes of both vertices, then the vertex V of the varied fore-
part lies lower than that of the normal forepart. But as now the point Q lies as much lower, and also O N in
O, as the new vertex deviates in a downward position from the original vertex: so have still the two alti-
tudes of the original and the varied forepart remained unaltered. As now the quantity Q E equals D E in
length, because Q E is more convex than D E: so the hind part if placed on QE will not through such
variation, lie lower in relation to the forepart, than it was in its normal position on DE. Hence then the
back part T W has become just as much longer in relation to the forepart, as the difference between the two
foreparts in their vertices, in respect to their heights. As this altitudinal difference is commonly not more
than dz, itis clear that instead of such a troublesome variation on the forepart, it is only needful to make
the dorsal length X Y as much as d larger than its normal quantity.
Second—As now QD=CN=AI= HHK=GS=— FG lie equally forward: so lies E, through
such variation, just as much as one of these differences, Q D or CN convexly outward. It is therefore the
same, and more easy to leave the forepart in other respects normal, and draw only the convex D Z F, so
that ZH — DQ. At the same time we may alter the normal shoulder, as shown at a, b, c, and this fore-
part comes exactly equal to the varied one.
The varied model in both of these cases has that difference from the normal model that it is longer
and wider in the back. But that the diagonal of these models has through this variation become less than
it was in its normal quantity, does not agree with the instruction, paragraph 30 and 31, on the abnormal
increase in the back. We now question whether such variation is of practical utility ? we leave this to be
answered by the learned artist, and only say so much: when those who practice by guess can prove
nothing, they screen themselves by referring to their own individual experience. But we have, from per-
sonal observation known these same persons often with great loss, obliged to make their model once varied,
undergo a second variation. To some of them, whom as we believed must have done with their altering,
it comes still in their head that the side part now in QER is too roundly convex, and then they take away
immediately this convexity, by which the side line becomes equal to the original one; indeed their varied
model is now completely equal to their original. Why then make the variation, or as they express it,
alteration, at all?
As now this kind of variation comes to nothing, how is it that such a method of proceeding is common
to so many practical men, by which the commencer only becomes confused, so as scarcely or never to arrive
at a clear knowledge of his art? we answer: all practical men feel the necessity of varying their model,
according to the position of the figure, and according to the style of the drapery. These two elements
becoming mixed together confuse them, when they are uninformed upon the fundamental science of their
art; and thus variations are made with a guess, and according to habit. The artist must understand the
convex human figure in all its kinds of form, externally, and in regard to dimension and position; know
the styles of costume, and bear the whole in his mind, if his hand shall correctly create; he must not alone
rely upon his eye, but also upon his mind and understanding.
D, MIXED VARIATION.
q 44. ‘When we have to vary in the same time according to different kinds of elements; namely,
style in the costume, and also position in the human figure, there arises a mixed variation 3 in a similar
manner as we vary according to one kind of elements, namely, according to those of different positions of the
human figure, the complex variation arises. But these compound yariations are all very easy, if the
variations of the simple elements are well understood.
See figures 2 and 3, pl. 17. This model represents a mixed variation. The condition of it is neck
thick and inclined backward, shoulder (acromion) forward; and according to the costume, as that of a
servant, another condition is being much larger in the axillar line than the corresponding normal line. The
variation to this condition is made by decreasing the minor dorsal length A F = 1} as much as the differ-
ence A B—dz}; the major dorsal length F H = 1 increases as much as the difference d 3, and the
scapula spine line also increases as much as the difference d 3, so that F G = 73 + d+ becomes larger.
25
The style form of the back part may be altered or not according to pleasure. The forepart regulates itself
through the usual placing of the parts to one another, and the required form is obtained, The sleeve part
fig. 5 of the model remains to be noticed. In this take the quantity A C — 10} or 103 large instead of the
normal quantity, which is 10 or 103.
Of the measure fig. 1, nothing further is to be observed than that the model on this plate is constructed
by it.
Figures 4 and 6 explain themselves, because it is assumed that the construction is understood from the
foregoing, by every one who will enter into the study of variation.
q 45. There is still another class of variations, which will perhaps be here the best place to men-
tion, the only condition of which is to be easy, meaning easy in a greater degree than what is otherwise
called comfortable ; but not so easy that it should not go close to the figure, and to lose the taste on account
of being deficient in harmony to it.
To know and correctly to make this variation is very useful; for instance, as when the materials out of
which the drapery is made, are very thick, or if it is lined throughout with thick material, which is often
the case, as with hunting clothes. A particular model is not given to represent this because the variation
is chiefly made in the back part, and the explanation on fig. 2, pl. 17 may serve equally well. Also:
To vary to the condition of being easy, first the normal F H — 7+ d i is made instead of 7; then the
normal A C — 3 + dt instead of 8; lastly make the scapula line F G — 72+ dt instead of the normal
quantity which otherwise is only 7%. The remainder is as usual. The differences d 4, d 4, and d 4, may be
taken as d 4, d i, and di, or even d 3, 4, and d 4, according as the physical circumstances require it, as
for instance in the case of using very thick or stiff materials.
It is now evident that in this difference there may be as well a negative increase as there can
be a positive increase, that is in cases where the model shall be more or less tight than the normal,
instead of being easy. The equation would then so appear; FH —=%—d}; AC=—3—d z; and
FG=7—dt.
Whoever should conclude that it is only necessary to take a larger proportion measure to construct the
model, instead of varying with the differences, and believe that the result would be the same, is greatly in
error ; for the increase is not intended in all the parts, but only in those which secure a higher degree of
ease, and this statement is true of the reyerse.
27
MIXED VARIATION—continued.
q 46. Fig. 1, pl. 18, presents two models of Dress, one in the English, and the other in the French
style of the present time, but both deviating from the normal form of style, which is expressed through the
pointed curved line. The variations of the co-ordinates of the models are made, in this instance, on account
of the style, but in such a manner of proceeding as is customary to practicians not scientifically informed.
They vary the co-ordinates of the model, without knowing that they do so, in making an alteration of the
style; while the scientific method of varying the style, is to increase or decrease the co-ordinates, and the
artist knows exactly what he is about, as in this manner he can account for his proceeding.
First we will take into consideration the French style. The breadth of the hind part A is larger than
that of the breadth of the human figure G; for this reason the forepart in the pectoral region C, must lose
what was added in the hind part, so that the size in the axillar curve DCBA may not be less than its
normal size ELFG. Through this alteration of style, the back part ordinate wins what the forepart
ordinate loses, which two fix the breadths of these parts. Such alteration has influence upon the rest of
the ordinates and abscisses of the model; and therefore the indentation HJ becomes H J+ JK, where
JK=LC. Also the absciss of the hind part (major dorsal length M N) has become larger, because the
axillar curve from F to B is placed deeper than the normal curve LF, and likewise the sternal length PQ
has increased from the same cause. This usually satisfies the ordinary practician, but not the scientifically
informed artist; he thinks farther and soon sees, with the eye of a geometrician, that, through such alteration
the vertex O of the model so much recedes from the vertex of the neck of the human figure, as the point F
has advanced into C; and besides this, that through the alteration the entire upper thoracial length has
become somewhat too long, while the lower is in the same degree too short, which result is not corresponding
with the given condition, which is only a wide style in the shoulder; hence through these alterations the
model proves a little incorrect. Lastly, he would see that the model may be corrected by making the dorsal
length RM as much as one quarter less, and the scapula spine line MI as much as one quarter larger
than the normal size gives, and in the same time also the lumbar length NT must increase one quarter
equal TV.
q 47. The variation of these styles in scientific order is easy, more certain, and at once correct.
It is as follows: the ISR is the normal form in the back. To obtain the French style, put RM = 1}—4;
MI=7%-+ 4; let TS decrease +; farther MN =1- 3, but, if wadding is put in the shoulder of the
forepart leave the normal M N =7 unvaried; H J = 23+ 4, in the short waisted style; and in the long
waisted style vary H J = 12-2, and WX into WY; the form of the forepart will be correct without
altering the normal LF into C B, however broad the hindpart in G may be, if not excessive. But it must
be observed that in this style of shoulder the model always requires + or + more length behind in the waist,
than in other styles; hence the varying of the normal forepart ZX into ZY, and the length of the back T
into V ; otherwise the model, being now easy in the shoulder region, would have the appearance of falling
from the Figure.
What is here given for obtaining the French style serves also as a rule to obtain the English style, by
only treating all the co-ordinates in question reversely; for instance RM—1}+4+ 3, and TS=3+43;
MI=%73—z; MN=7—4; and HJ decrease }, and ZX vary into ZU.
The styles created in this manner belong to the ideal; as in the French style it is thought that a
greater breadth and fulness than is really found in the natural form of the region of the back and shoulders
add to the beauty of the figure; and in the opposite of this, in the English style, it is thought more
beautiful if the region of the back and shoulders looks more confined and small than it isin nature. We
find both styles not unfrequently in degree carried to excess. ‘The French style appears often in super-
fluous quantity ; while the English, on the other hand, still oftener appears too constrained, and scrupulously
contracted, It is, therefore, better to avoid either extreme, to keep between the two, and endeavour in
unassuming modesty to reach the ideally beautiful; in which, we must never forget, that, in this idea,
physical nature strives to realize itself, and in which realisation we meet dignified and refined natural
forms, which we may know in mathematical ratio, and adopt as guides.
28
If we well observe the three normal or primary forms of the human figure,—proportionate, slender,
and broad, it will be evident that the French style is becoming to the slender figure, because in this figure
there is a natural deficiency in breadth. In the case of the proportionate figure it may be admitted, but in
the broad figure the French style is absolutely intolerable, because nature has here already given too much
breadth. The present English style is the most suitable for this form of figure, but care must be taken not
to deviate too far from the primitive or normal form, but rather to lean to that style approaching the ratio
in the proportionate form, where the normal ideally beautiful only is to be found,
The model of the sleeve, fig. 2, undergoes an alteration in both styles. When, for instance, A B is
the usual depth of the model, C D E belongs to the French style, because F E must be deeper than the
normal depth F, otherwise the extension in the region of the shoulder would be drawn by the sleeve, and
so brought out of its proper place. The English style requires the reverse, viz. HJ G. The models of
the skirt and lappel, fig 3, are clear without farther explanation, only it needs to be mentioned that they
are of the French style.
It may be useful to observe here, that, when it happens that a drapist has a number of customers who
are abnormally long in the dorsal length, he easily falls into the belief that all men have a greater dorsal
length than the ratio of the normal form gives. On the other hand, another drapist has customers the
greater number of whom are abnormally short in the dorsal length, and he as naturally receives an opposite
impression, that the dorsal length is always shorter than denoted by the ratio in the normal figure. Each one
adheres to his own, and as he believes, to a more general and better rule, while in reality they are both
mistaken, as the rule, neither of the one nor the other is general, but special, each belonging only to a
particular class of figures, viz., one to those who are long in the dorsal region, and the other to those who
are short ; hence the normal form remains the most generally undisturbed in its ratio. We must therefore,
place the two cases, long as well as short in the dorsal region, under A, paragraphs 31, 32, &c, and remind the
artist that the mastership of modelling is in being able to construct with facility, according to every occurring
condition, and not in that, to construct only one kind of model for all conditions and forms,
4] 48.——The model of the two parts, fig. 4 and fig. 5, represents a complex form,—namely, to the
condition that the human figure is long or high in the axilla, and in the same time low in the shoulder
(acromion). This form is treated in its simple elements in paragraphs 34 and 38, and merely to present
the model will be sufficient. But it may be repeated, that the increase A B of the forepart must be equal
to the increase A B of the back part; and farther that MN of the forepart is varied into the position M O,
so that NO; that K varies into D, C into H, and, lastly, that a human figure of this form always
projects in E.G, recedes in I, and projects in P. .
q 49. The model, fig. 1, and fig. 2, pl. 19, is an example of the style worn before the French
Revolution of 1789. It was one not only prevailing in France, but also in England and Germany ; at
present it is only worn at fancy balls and courts. It is worthy of remark, that these three nations, until
that time, were thus much identified with each other in the taste of their dress; certainly a consequence
of intercourse and communication during a long peace.
The minor dorsal length A B, is in this style equal to 1} —4; CD=%—+; and BE -- EF=7 2-1.
through which the neck was left more free, and the shoulder more easy than was the case in latter styles of
dress. But this style is aesthetically ideal, and was the modern European classical drapery ; it appeared
in the greatest perfection in the seventeenth century, and perhaps was an imitation from the dress of the
southern and eastern nations, to which it has a similarity.
4| 50.——In the model under fig. 3 and fig 4, on the same plate 19, two styles of dress are presented,
English and German, of the year 1820, which but slightly differ from each other. 'The English style A’ B’
and C D is broader in the shoulder (axilla) than the German A’ E and C/ F. When the shoulder was
worn very narrow, then the normal line, A B of the back part is so placed as the line C D shows; but the
increase A C, must always be: equal to the decrease B D, which is, in this case, equal to 2. The normal
quantity A G= 4, and the normal quantity F B= 73, as usual.
29
The form being entirely altered round the region of the shoulder, it appeared now, there being no
section between the skirt and the body, that it was unsuited to this confined form of shoulder; from this
cause arose the section between the body and the skirt, as G H J, and K LJ show, and an entirely new
form of dress sprung out of the old one. But this change was not easily correctly effected, and those who
are conversant with the literature of the art of modelling for drapery in this period, know how very long a
time elapsed before this part of the model was made correct. Herein is nothing to surprise, because the
lower portion of the thorax is similar to an inverted conical frustum, and, therefore, its surface in the section
M J alluded to, demands a curved line G H J, which only a geometrician could at once make correct; and
the science of geometry the artists of that time believed to be unnecessary, and, consequently, this part as
well as others were guessed at, by many who professed to be masters. The style presented in this model
is, in its origin, a copy of a cuirass after the time of the French revolution, and became only later a compo-
sition or design according to the aesthetical normal idea of a human figure.
The taste of the present time calls again for an approach to the style presented in fig. 1 and fig. 2;
but there can be no difficulty in changing one style into another, as the student is by this time acquainted
with the laws which regulate the variations, especially if he compares the variation of fig. 1, with that of
fig. 3.
These hints may be sufficient for every reasonable thinker, to be assured how necessary it is to know
and esteem the literature of his art at every era, and to know and value at least so much scientific knowledge
as is immediately connected with his art, so that every periodical change of form will not oblige him to
discover all its first elements over again, or cause him to spoil materials.
q 51.——The figs. 1 and 2 on pl. 20 represent a model in the style of a shooting jacket, or of easy
apparel in general. ‘This style, so far as it deviates from the style in dress and frock, is only one of
convenience, for the purpose of it is to secure chiefly a higher degree of ease, without a departure from
taste and fit. Therefore the normal quantities of the co-ordinates require only to be increased, as is seen
in fig. 1, viz., 3 into 3-+ d}; 7% into 73+ d}; and 7 into 7-+- dz. Take away all the differences, d3, d2,
and di, and we have again the normal quantities. The rest of the variation in the style of this model is
in that part which can be effected without the help of the differences, and therefore needs only to be
imitated and drawn by free hand.
Of the sleeve part of the model, fig. 3, nothing more is to be observed than that the quantity from the
middle of the back to A is here equal to 103 or 103, instead of 104.
@ 52.——Fig. 4 on the same pl. 20, presents a model for a boy’s jacket. Although this model has
some character of its own in style, still such is more in consequence of formation in the figure of the boy,
than conditioned through the idea of style in dress. The conditions of the figure form are, head backward,
and shoulder forward. For these reasons, the minor dorsal length, in the model A B=—=13—d$, and
A C=7%-+ di, or even A C= 72+ di. The quantity D E14 is because childrens’ forms are most
generally large in the neck; but, in the exceptions to this rule, may D K= 1, or D E=3, which last is
the normal quantity.
53.——In fig. 1, pl. 21, we have a style of an uniform which has a great similarity to a boy’s jacket.
First, its construction is conditioned to the peculiar style of the uniform, as the model sufficiently exemplifies ;
and second, its construction is conditioned according to the form of the figure. The military form of the
figure is in general head back, shoulders forward, chest out, and abdomen in; accordingly the minor dorsal
length becomes A B= 1}—d3; the scapula spine line AC — 7%-+ d3; and the major dorsal length
A D=T7—dt.
The construction of the skirt part, fig. 4, requires no explanation, nor that of the collar part,
fig. 3, with the exception that AB must be put on in the neck, neither the lappel part, fig. 2, nor that of
the bent arm model, fig. 6; but it must be here particularly observed that A B=104, whatever breadth
the hind part C B may have.
30
The model part for the straight sleeve has also no difficulty ; because the part CEGH K J is first
in the same way constructed as a model of a bent sleeve, except that GH is parallel to Q P; then the two
parts, G LM H, and NJ KO, must be made equal to the part JGHK. ‘The triangle, DBC, must be
made to cover CB A; EF equal to EA, and the parts BN and EL must be made equal to the part
BEGJ, and cover it. The measures accompanying the models are those by which they are constructed,
and taken on a scale to produce a size of models best suited to the book.
Tn a general survey of all these varied models, it will become quite evident that the groundwork of
them remains free and unfettered, in all cases, conveying fixed laws in systematic order, whatever may be
the form of the style, or the form of the figure according to which the models are constructed. We must,
therefore, regard the groundwork of the models as something general and continuative, and in the same
time tangible, consequently such a groundwork is a complete system and of general application to construct
models for draping the human figure.
31
CONSTRUCTION—continven,
MODELS FOR VEST.
q 54. The same breast measures are used in the construction of models for vests, as those used in
the construction of models for Dress and Frock; and as these measures are described in the foregoing
paragraphs, the mere representation of them accompanying the models on Plates 22 and 23 will therefore
suffice. But the length of the vest mentioned in paragraph 3 Mensuration must be observed in fixing the
length of the model to it in front L, from G downward, having first the breadth of the back O B deducted
from the length. It must also be mentioned that there is no ground length used in the construction of the
vest models, whereas it was required in those of dress and frock; and farther, that the proportion numbers
used in the vest models are abbreviated deductions from those numbers which were used in the dress and
frock models; while the construction is made as simple as possible without giving up the correctness of the
process. The measure fig. 1 shows that the form of the figure measured is normal in the size of the waist
in relation to its breast measure, and the model fig. 2, pl. 22 is constructed according to this condition.
The co-ordinates in the models stand under right angles to one another; and the proportion numbers
are all given with them; hence this neither needs any further explanation. But in case the figure is thick
in the neck, A B on the hind part of the model may be made equal to } instead of z. It is seen on the same
figure that EC = 9, but must be so much increased as that C D = 1, reckoning for the lessening caused
by putting the parts together.
Out of the centre F with the distance F G draw a circle GH which gives the collumial line for the
model, but if the vest for which the model is constructed is to be buttoned close to the neck, draw a line
Glas highasIH =. The size of the waist K L and MN is equal to R where as in this case R =
15 units. ,
q 55. The real size of the waist (R) shows a positive difference (Dt); namely D+ = AB on the
measure fig. 8, and according to this D* and measure the model fig. 4, pl. 22 is constructed. But the con-
dition is, besides that the figure is abdominal it is also broad in the circumference of the chest (breast mea-
sure) to its height, and hence the model must be varied accordingly.
The model is first constructed after the same proportion numbers as those in the preceding paragraph
54, which the pointed line in fig. 4 shows, and when this is done the variations are made according to the
condition of the figure form. First the increase of the size of the waist in the model is made ee 1D
as } D* is added in the front on the forepart, and the other 3+ D* is added in the side of the hind part.
Second, the variation is according to the broad form, but as we have not ground length here we vary A BC
into CD A, so that DK = 3; proceed similarly with the hind part, varying DEF into DG F; and lastly
vary FHC in FIC, so that HI=4=KD.
q 56. Fig. 5, pl. 22 shows the construction of the collar part as follows: from the point A with
A B draw a curve BO, make BC = 8; draw a straight line EC D through the fixed point C, and through
32
the point D taken at liberty, according as the turn of the vest is to be high or low, and form the collar part
as shown on the model. Similar to this the collar part on fig. 4 is also formed; farther explanation is
therefore superfluous.
The model fig. 6 differs from the preceding one in the style of costume, just so the collar part fig. 7,
which is a standing one; although it may also be turned. For want of space the collar part is not given in
its full length, nor is it really necessary, as AB is always drawn parallel to CD; afterwards C E is drawn,
so that the piece C D E is taken off from the entire A BDC.
q 57. The model fig. 2, pl. 23 is constructed according to the measure fig. 1 which presents a
negative difference (D>) namely D7 = AB. From the front of the fore part in the size of the waist iD-
is taken off, and in the side from the back part } D~ is taken off; but A B must always be = 4 DC, how-
ever great C D may be.
The remainder of the models on pl. 23 show merely differences of style in costume. Still the second
form of the forepart in fig. 2 may not be unworthy of some attention. This form EF GH TI is varied from
the normal form EK LI, in case the human figure should be very projecting in the region of the mamilla
M. In this variation the following is to be observed: first cut the piece OM N out of the model, draw E L,
make EP = NO, LG =NO, draw EG and place the triangle ELK in the position of PGF. Draw
the curve GH. concentrical to the curve LQ, draw H I, and the variation is completed.
Through this means we obtain that a greater size is brought in the surface of the model over the chest.
But if the object is only to shorten the line HI then the proceeding in fig. 3 is preferable, as it is seen in
the form A BCD, deviating from the normal form Ao 0D; and the reverse effect is produced by the form
DEF A, which deviates in the opposite direction from the normal form.
Fig. 4 represents a model for a court or fancy vest ; and fig. 5 a model of a modern French style, in
which there is nothing more to observe than that we are convinced every student who has attended to the
given rules in the construction of yests, may be able to construct any kind of model, not only to the figure,
but equally to every style of costume.
MODELS FOR TUNICS.
58. In the construction of models for children’s apparel the ground length is to be made use of
besides the breast measure, and in the same manner as that taught in the articles on Models for Dress and
Frock. The form of children’s figure is mostly h < b, see paragraph 18, sometimes h— 6, but rarely
h>». The construction of the models on pl. 24 and pl. 25 is according to the form of figure when
h—=b, and Dt, and it need only be mentioned, if h < 6 the lengths in the model are taken from h, and
the breadths from b ; and farther as the models given are all constructed after the form 4 =, and in this
case the quantities # and b need not be distinguished from one another, so, we have only their co-efficients
(commonly termed proportion numbers) marked on the co-ordinates of the models.
The measure represented in fig. 1, pl. 24, is that by which the models are constructed, and which is
known through the article on mensuration, and as the units from the ground length are not given with this
measure it must be understood that = 0, and that the breast measure and its units 1, 2, 4, 6, 12, 18, are
sufficient by which to construct. This measure shows also the real size of the waist (R) and the difference
D* between the normal and the real size of waist.
The model fig. 2 is a general Tunic model, in which A B= 9, BD=1, and A C2295 AB ==185,
CF=81, and FG=}; FH=3, HI= 123, and [E=3; draw the circular lineI K out of the
centre E with the radius EI, and lastly draw the curve H G with a free hand. If we would compare B E
with GC, then it will be seen that GC is less than EB, when these two quantities are, in the case of
Models for Dress and Frock, equal. This is accounted for by the peculiarity of the form of children’s
33
figure, which is shoulder forward and upward, and head backward ; hence a Tunic model requires, what in
common language is termed, a long shoulder, so as to cover the axilla region, more especially as it is
necessary in the case of children to cover it easy.
The lower part of the model corresponding to the lower part of the thorax in the figure of a child is
still more simple in its construction. Here is CL=8, M N= 23, O P=4, taken largely, so that the
quantity A C in O P becomes } less; the lines QO M, and QP N may be drawn out by free hand. The
line N R must be drawn onwards from the point of inflexion N, straight, and parallel to CL; the breadth
LM is taken at liberty, and the indentation M N is taken equal to 24 in children’s forms. The whole of
the increase is added to the front as § T in fig. 2 shows. QR is made equal to QM, and from the point
Ra perpendicular line RS is drawn upon BS, so that BS R becomes a right angle, and lastly make
SU=1.
With the radius of 21— A V a circle A W Y Q is drawn out of the centre V, which may serve as a
normal line nearly corresponding to the real axillar line in the human figure, and through which is here
seen the difference of the axillar line Z A’ Q B’ in the model. Farther ZY—=1}; ZI as well as H Y is
drawn, making H By = ZI.
«| 59.——The sleeve part of the foregoing model is constructed of a close form, similar to that of the
boy’s jacket model, or to that one belonging to the dress and frock models; or it is of a loose form as
indicated in fig. 38 on pl. 24. The under part A BC D is in the first place constructed exactly as the close
sleeve part; namely A E— 3, AB equal to a half of the axillar line Z A’ Q B’ of fig. 2, then make
F C= 13, and C D= 63, &c. &c. When the under sleeve part is completed draw from the centre D with
the distance D A the curve A G, and out of the centre C with the distance C B draw a curve BH; AG
take at liberty according as the sleeve part shall be more or less loose, and then make HB=AG. After
this H G is halved in I, I K made equal to 3 1G, and out of the centre K with the distance K G a circle
GLH is drawn. Lastly G M is drawn straight, and H N is produced by free hand as the curve presents.
The sleeve part of the model just now treated of, is of a bent form, although loose, but fig. 5 represents
one of a straight form. ‘The bend is of course at the elbow. In the straight form also, the line A B= 381;
the CB is under a right angle CBA drawn upon A B in B; and also AC =+# the axillar line of the
forepart, D EK = 2%, and the curve A EC drawn by a free hand. Just so make D K =i, and draw AKC
by free hand. The pointed line KE L is drawn exactly in the middle of CH and AI. ‘The outside GF C
must be held on in F, and the inside C F H must, on the same place F, be stretched out in putting the
two edges together. The point C must meet the middle of the forepart under the arm.
The sleeve part of the model fig. 1, on pl. 25, is the same as that which has just been explained, with
the exception that this one is given open, whereas that on pl. 24 is shown as folded in AI, (see fig. 5).
The construction of the sleeve-part fig. 1, pl. 25, is besides, quite clear without especial explanation, requiring
only to be mentioned that, after the co-ordinates C G, A E, and their co-efficients are put on them the
remainder of the co-ordinates are also fixed, and the curves A B C D E, and F G Hi are drawn by free hand.
q 60. The skirt part fig. 4, pl. 24 is given of the true Tunic skirt form. BF is reckoned for
lapping over ; BC is made equal to whatever length is chosen, but it should never be longer than to reach
to the knee ; it may rather be taken shorter, because if it extends lower than the knee it destroys one of the
chief geometrical parts of the human figure, and with this, destroys the effect of beauty also; especially as
regards a Tunic which should convey the idea of elegant attire and not only of a mere covering for warmth.
Farther it is seen that A B = } R (see R fig. 1 on this plate) afterwards out of the centre A with the
distance (radius) A Ba circular curve B D His drawn ; in A upon A B a perpendicular line A D is erected
and D E made equal to the quantity which the breadth and plaits of the back part require, say D E to be
equal to about 3 inches. By the breadth of the back is meant the part L M in fig. 2. Lastly the circle
G H C is drawn, and in putting the parts of the model together, the curve B D is to be stretched out so
that the foldings fall gracefully in the part HC.
34
“| 61.——The models presented under figs. 2 and 3in pl. 25 have the same groundwork (co-ordinates)
as those described in paragraph 58, with the exception that in fig. 2, AB = 2 instead of 24; and that D
lies above the line E F instead of in it, and E lies in E F instead of below it. The remainder differs with
the style of the fashion, and is taken quite at liberty. This model is very becoming as a child’s jacket,
worn over other dress, and is sometimes termed an over tunic; it is also very useful as a model of an under
flannel jacket for grown persons.
Fig. 3 on pl. 25 is a Tunic Jacket model which does not require farther explanation, as it differs from
the Tunic only in the skirt part. The skirt of this Tunic Jacket is an ancient German jacket skirt, which
is still worn in many parts of Germany by the peasantry; it is pretty and graceful, and if the whole
apparel is otherwise appropriately arranged to correspond, it looks even picturesque and beautiful.
The model fig. 4 pl. 25 presents a child’s loose paletét, of which the part ABC DEF G presents the
back, and HIKCLMNO the forepart. The construction of it is self-evident, as the co-efficients are all
given with the co-ordinates, only leaving it to be mentioned that A K — 33, and the circle P K B is drawn
out of the centre A with the radius 34, also that Q R= 8.
The measure fig. 5 under these models, is as usual the one by which they are constructed.
With this we have given the principal groundwork, and the necessary information for constructing
models for children’s apparel ; every artist who is well acquainted with them will be able to construct any
other kind of model which the time or the figure may require.
MODELS FOR TROUSERS.
q 62. The method of taking the measure from the real figure for the construction of trousers’
models is treated of in paragraph 4, Mensuration; and mention is made in paragraph 5 of the proportion
measures, which are also brought into use in the construction of these models, The proportion measures
referred to in paragraph 5, are, in size, equal to the breast measure of the figure ; and as we found in
Anthropometry that the gluteal circumference is equal, or nearly equal to the thoracial circumference, we
may safely take the proportion measure of a size equal to that of the gluteal measure and construct the
model by it. As an instance we may grant the gluteal measure to be equal to 18 inches, in which case
take the proportion measure of 18 inches as the size by which to construct the model, that is, so far as itis
required ; for only a few proportion numbers are needed, the greater portion of the model being determined
by other direct and given measures. Fig. 3, pl. 26, presents a proportion measure, understood from the
instruction in paragraph 4. The measure BConly, is here made use of. The real size of the waist R
farther indicates that in this case R is equal to the normal size of waist Bo, namely R= N.
A farther examination into Anthropometry shews that the thigh measure in the femorial circumference
is not in that constant ratio to the breast measure which the gluteal measure bears to it ; still the difference,
which is fluctuating, is never so great that it need be regarded in the construction of models. For this
reason the stride may safely be determined by either the one or the other. The thigh measure is to be
obtained by placing the measuring tape on the figure in the region of the femorial section (see my Anatomy,
pl. 7) and laying it close on the undress side. Any other measure which may be useful, as the rotular,
tibial, &c. must also be taken close to those parts; asa vague and loose measurement could not give usa
true knowledge of the size of the parts which it would be desirable to ascertain.
The half thigh measure A B, fig. 4, pl. 26, is divided into three parts, AC, CD, DB, and each of
these parts contains 3} units, equal, or nearly so, to 34 units of the proportion measure. If any difference
exists it is so small that it can only be detected by comparing equal multiples of units of thigh and
proportion measure, as 3 to 8 or 4 to 4, &c.
q 63. Before entering into the simple art of constructing models for trousers, it is desirable to
bring those scientific elements to the mind treated of in Anthropometry, namely in the development of
pelvis and leg, especially fig. 9, pl. VI. Figures similar to these are represented on pl. 26 of the present
work for the farther precise development of forms. First, fig. 1. The legs of this figure will illustrate
that if one should be placed slant as N N’ or vertical as N M, the depressions 4, 1, 4 will always be the same
in every normally formed leg. . Compare in this respect both figures 1 and 2, and it will be seen why the
depressions K L = 3, MN = 1, &c. for which see fig. 2, are so in every case in the construction of models.
In Anthropometry we proceeded so far as to find the coccyxial point F, the ilial point Y, and FI=18
units, see fig 2, pl. 26; but here we have to add FZ = # unit, allowing for the curve on the back part at
the junction of pelvis and leg. Second, see fig. 1, pl. 26. We have here to define the proportions of the
gluteal section, namely the straight line JH —J K E= 10, the straight line FG equal to the curve
F KE = 8; units. Now these straight lines J H and FG shall correspond with the straight lines A’ D’ and
aD’, fig. 2. But similarly and for the same reason as the sizes in the leg sections of the model are greater
than the corresponding ones in the figure leg, which is seen by comparing section to section in the figures
1 and 2, pl. 26, so are those sizes likewise greater in the gluteal section of the model pelvis, than those of
the figure pelvis. On making a comparison of the magnitudes in both figures, it will be found that those
in the figure model are one unit larger than such in the figure leg ; for example, in the ankle the ratio is
41:53; sural 74:82; tibial 64:74; rotular 7:8; femorial 103: 112. In like manner the gluteal lines
10: 103; but the pubial lines do not present such uniformity with the rest; as FG:a D’ = 8}: 91 when
it should be, retaining the uniformity, 8t: 82; thus in fig 2, a D’ is 2 too large, which will however be
rectified farther on. In the ilial section (compare the corresponding lines in both figures 1 and 2) the
36
CB: WY=17:7; and AB: VY —8:8. In this section the sizes are perfectly equal, and nothing is
allowed for seams in the model, as has been in the other parts, and which may be done or omitted according
as the trousers are close or easy in the size of waist.
In fig. 1, pl. 27, let there be every thing in the model as before, and in addition be drawn in it a
perspective figure pelvis ABCDEF. [If it is now considered that the perspective curve EA BC must be
stereometrical in space, equal to its corresponding plane section KA BC, fig. 2, and this so in the parts as
well as.in the whole, then it-is clear that A B of fig. 1 is equal to AB of fig. 2, &c. Now if in fig. 1, the
part F A GD is moved in the position of A’ G’ D’ on the centre F, so that the distance from the coccyxial
point to H is equal to 5 units, then it may be perceived that the A’ G’ is nearly equal to 1H; and likewise
that the distance from G’ to the coccyxial point is equal to CB A of fig. 2. And as the distance from I to
the coccyxial point fig. 1 is rather greater than the distance from G’ to that point, so is the first distance
fully capable of covering the line C A B of fig. 2; hence cover likewise the perspective curve C B A of fig. 1.
Thus is proved in another way the correct position of the gluteal pelvial part (that is the hind part) of the
model in relation to the leg part.
With reference to the pubial part in the pelvis (see fig. 2) the pubial D recedes similarly as the
gluteal B is projecting. And for this reason the forepart of the model must be constructed in a reverse
form to that of the hindpart: see fig. 8, pl. 27. In the first place all shall be as before in the case of
fig. 2, pl. 26. After this let the forepart A BC move into the position A B’C’; thus is C’D < CD, and
D in relation to C’ has receded, when the new curve C’D is drawn harmonious with CD. This is in
correspondence with the form or depression of D in fig. 2. But in the form C’D in fig. 3 the magnitude
of D A has become no less than it was before, which was already ¢ unit too large. Hence DA must be
lessened in the end A, or more suitably in the end D. For this reason, therefore, let us proceed to fig. 4,
pl. 27, and move the forepart A BC into the position A B’C’, and make D E = 3, draw C’E, and it then
becomes EK A= 83. This form in E will correspond with the receding form or depressed position of the
os pubis in fig. 2; and likewise reach the required magnitude looked for in the gluteal section, fig. 2, pl. 26.
Thus we have satisfactorily disposed of the scientific elements in the construction of proper models for
trousers, and there now remains only a few more points that will call for attention.
First observe, in figs. 1 and 2, pl. 26, that the model, fig. 2, is somewhat longer here than the fig. 1 to
which it belongs. But, as already mentioned in Anthropometry, it is lengthened, because a physical
plane, when placed on a convex body, carries up, besides an allowance for required seams or turnings. And
as the entire in the model is greater than the entire in the figure, so it is likewise the case with the parts,
each to each. Thus it is that the os pubis a in the model fig. 2 is lower posited than the same point P in
the figure (fig. 1). And so with the rest of the parts; all bear the same proportions in the model that
they do in the figure, and invariably have done so in every model and figure. The tibial depression N is
situated in the half height of the os pubis a and the sole of the foot. Second, if we receive an impression
of a form from the side view of fig. 2, pl. 27, in nature, and sketch or draw a shape, this shape would be
about such a one as figs. 5 and 6, pl. 26 present. ‘Thus we received from that impression the first idea for
drawing a form for trousers, however dark, confused, and imperfect it was as to correctness in the form
and size of the real figure. But as soon as a measure is given of a definite size, and a model required
scientifically correct, constructed to the measure and form of that specific figure from which it was taken ;
then the mind is called into action and the matter becomes in its operation a scientific art. Thirdly, see
fig. 8, pl. 27. It may be mentioned that if we have a system of elements, such as lines and angles, below
and above an axis, X, brought in connection one with another in a point or more, posited in that axis,
then whatever the one system undergoes the other will be affected, that is, its co-system; bear in mind the
relation of angle u and angle z. Similarly if three systems are connected, such as are presented in fig. 9
on the same plate, they will, under similar circumstances, influence one the other. This however will be
properly studied in Geometry and Mechanics. It is here only alluded to because that these abstract
figures correspond with pelvis, thigh, and leg, and therefore may lead to reflection.
37
I. MODELS FOR A FIGURE NORMAL IN SIZE OF WAIST.
R=N, or R—N=O.
q 64. The two last paragraphs are to be considered as an introduction to the art of constructing
models for trousers. In this paragraph we proceed to the simple construction itself. See fig. 7, pl. 26.
In the first place draw a straight line H H’ equal to the side length taken from above the iliac to the sole
of the foot. Make H’ P equal to the leg length. Now bring into consideration whether PH is equal to
the pelvial height of the figure, which height derived from Anthropometry is known to be 9 units.
Remembering from the preceding paragraph that the parts in the model must be greater than their
corresponding ones in the figure, it follows that at least it ought to be P H—9% units. Farther,
whatever is allowed above the iliac H, it must be given independently of the pelvial height. For this
reason then, if only the side length and no leg length is given, and any quantity above the iliac H is
required, the amount must be definitely stated and allowed for. If the side length is given, and the
pelvial height known from the proportions, the leg length is known without being given, which is by
itself evident. Farther draw perpendicular lines J P, L H, and KE H’ upon H H’ in H, P and H’. Define
next KH’, JP, LH, and H Q as the proportion numbers indicate. Next drawaHKand KF. Halve KF
in O, and draw the rest of the line by free hand through the point which the proportion numbers have
defined. F indicates the centre of the heel. Similarly as with fig. 7 proceed with fig. 8. In the ilial size
of these two figures 7 and 8, the seams are allowed as LH + QH=9-4 7 = 16 of the one, and the other
eL+ZM = 16 likewise. But should the nett size be required in fig. 7, make the forepart LH less in
the end at H; and in fig. 8 make the hind part less in M and Z. All models for trousers are constructed
in this manner, and we have only concurrently with these general elements to consider the details or
specialities. The measures fig. 3, pl. 26, and fig. 5, pl. 27, are normal in size,as R= Bo= 15; and as
the ilial size or size of waist in the model is 15 units without seams, it is clear that such size agrees with
the measure.
Before going farther, it is well to consider in the construction of models, where the numbers define
the positions of parts, and where they define size. Then, although the same number, sometimes defining
position, and in the same time defining size, the difference must still be kept in mind. Fig. 7, pl. 26,
gives an example where L H = 9 and Q H =7, define position and quantity in the same time; and fig. 8
gives another where e K = 9, Z K = 7 define position only, when e L= ‘J and Z M=7- 2 define size
or quantity.
We see on fig. 6, pl. 27, no difference in the general construction from that of the preceding model,
beyond a few special points. From the leg-axis lying in a slanting direction, a greater length is produced
on the inside of the model, which is as much as A B. ‘There are besides cases where the hind part in the
gluteus and stride region are increased much beyond their normal extension, similar to C D A; but all
increases which are above the normal quantity must be left in practice to special conditions, and the student
must carefully distinguish between quantities, constant and defined, and quantities variable and indefinite.
Fig. 7, pl. 27, is another model, quite opposite to that just described. It is distinguished by great
fulness on the hip, and by being flat in the seat; whereas in fig. 6, the hip is formed close, and the seat
very full; however, this belongs more properly to style than to form of figure.
II. MODELS FOR FIGURES ABNORMAL IN SIZE OF WAIST.
A. NEGATIVE, NAMELY R < N, D-.
gq 65. As this construction may be fully comprehended from the preceding paragraph, and from
the proportion numbers indicated on its co-ordinates, it is only necessary here to fix the attention on the
proper distribution of the negative difference, D~, of the measure, fig. 3, pl. 28; namely, that the D~ must
be taken from the normal form of the model fig. 2, in the same manner as the D7 in the size of the waist
indicates. Compare the figure form, fig. 1, with the model fig. 2, namely, the ilial section BC D of the
figure with the waist size of the model, and the distribution will be clear by itself. It may here be
38
repeated that the tibial depression G, fig. 2, as well as fig. 1, is always in the half height between the
os pubis F, and the sole of the foot; EF and H F.
2 2
B. POSITIVE, NAMELY R>N, D+.
q 66.——For the form of a figure positive in the size of the waist, see fig. 5, pl. 28, of which the
normal size is A BC; the positive difference or increase is indicated by the dotted line external to the
normal one. Fig. 7 is the measure by which the model fig. 6 of this figure is constructed. In this
measure is Ao =N. Now if we take the smaller N from the larger R, that is R — N = D+, then we have
the positive difference D+ or increase of the size of waist beyond its normal size. This increase D+ of the
size of the waist, being chiefly in the front or abdomen of the figure, naturally causes in every figure
possessed of such abnormality a leaning backwards. And this causes a greater angle in the junction of
pelvis and leg than exists in a normal form. The model, fig. 6, requires a construction accordingly. For this
reason then, after A K and Q K are defined, and the lines G K, M Q, and P A are drawn, make F IK — 646
—+D+. Draw DF, halve it in E and proceed with the rest, first as the normal forms and the
proportion numbers indicate. After the normal form is defined, distribute the D+ of the measure in the
size of waist as indicated on the model. Now in the increase P N of the model, fig. 6, and the increase
A C with the decrease of F K being } D* less than the normal 6% 6, the entire model, proportioned to the
figure in question, has a backward leaning likewise. ‘Thus we have constructed models for the three forms
of figure, normal, negative, and positive in size of waist.
To the class of forms just treated of belongs fig. 10, pl. 27. This model is constructed by the measure
fig. 11, and as seen has a D+. But if we compare the two models they will be found different in form
although of the same measure. ‘The real figure according to which this model was constructed was not
only abnormal in the size of waist, but abnormal in other parts at the same time. Bya course of gymnastic
exercises it was much depressed at the os pubis A, and projected at the upper part of the gluteus B. Thus
in the deviating or twisting from the normal form the stride C became affected likewise, and required to be
harmoniously drawn to the projection at B. The rest of this figure must be evident from the foregoing and
the proportion numbers; it being only needful to mention that the greater height KE in the hind part, than
the normal height, and the lowness D of the forepart (low for such a form) is to be accounted for by the
circumstance of no braces being worn by the person alluded to. These cases always require considerable
height in E and corresponding lowness in D; for under these conditions the garment is tight in the
waist, and pressure cannot be borne in the higher part of the abdomen, however much may be on the
lower part -of it.
ON STYLE OF MODELS.
q 6'7.——If we speak of style in the sense of that which is becoming to the specific kind of form to be
dressed or draped, then style means that which is presented when the figure is attired in such a manner
that nothing could be either added to or taken away from any part without detracting from the beauty of .
the figure in its entire. This style, termed the beautiful, presents itself in the special as the complete or
perfectly becoming; it is in the abstract, universal, and ought to be manifest in every style, whether
accidental, fashionable, or conventional. It is the object in. draping a human figure always to insure a
style in this sense, combined with fit; but at the expense of fit, if the becoming is made the primary object
of consideration. But styles in dress, as form, floating or accidental, are as to number infinite. Still the
artist must, by presenting each in the human figure, let the beautiful and the becoming be the most
conspicuous features.
We will however enumerate some few cases, in models for trousers, although they are inadequate to
convey the infinite number to be discovered by an imaginative or reflective mind. First, it is sometimes
affirmed that a better style in trousers may be produced, and with greater precision, if the fore and hind
parts are drawn and constructed separately. Although this is an error, and is merely a matter of habit,
still having different styles to give it may be as well to know how to construct a model in this way. See
as an example fig. 4, pl. 29, constructed by the measure beneath, and it will be observed that the ground-
39
work of the model is the same as that of the preceding ones. If we now reflect that the forepart and the
hindpart have the centre E of the femorial section in common, and that likewise F C = 33, if AC is drawn
perpendicular to AB in A, then it is evident that the forepart as well as the hindpart may be drawn
independent of one another. For these reasons then see fig. 2, pl. 29, draw two lines A B parallel to GH,
distant 7 units of the proportion measure; define side length as well as leg length; make ¥ C — 3} units,
F E= 53 units, and find the pubial point D as before and as the proportion numbers indicate.
Note.—It may be worthy of observation that F C equals likewise 3 of the half thigh measure, as has been said previously, if such is taken close on the
undress side of the figure. And as CL = 7 units, it is likewise 3 of the same measure. Now 3% +7 = 10}, and this is the half thigh measure (femorial
measure) in units. This may be still better illustrated by fig. 7, pl. 80. Here is the straight line AB equal to the half circle, and so likewise is CF, if the
circle is drawn with a radius GE = 33. And thus if the entires are equal their respective parts must be equal likewise; namely AG —=CD, and DF = GB.
Hence if AB is given as the half of the thigh, then 4 of it, namely AG may determine DC. Thus the stride may be defined by the unit of the breast measure, or
by the 4 of the half thigh measure.
Tt may here be the proper place to mention that in some form of the human figure the thigh is small in relation to the circumference of the pelvis; and
others again are the opposite. And as the stride not only affects the size of the leg, but more so the junction of pelvis and leg, especially the length of line in
the plane section from the side view of the pelvis, therefore this is evident: that a figure with a large-sized thigh and a small pelvis in circumference, will be
found to have e small stride; and vice versa, a figure with a small-sized thigh and a large pelvis in circumference, must have a large stride. Farther, see again,
fig. 2, pl. 295 after the undress side is formed, we see likewise that the half distance from C to the pubial point D is nearly $ unit. And for that reason
the forepart may even be formed without finding first the pubial point D; but which however it is better to ascertain previously, on account of its giving a clearer
insight.
Wherever now we may place the forepart on the hindpart, the model remains unaltered in form and
size in all its parts, as seen in figures 1 and 38, pl. 29. And should the conclusion be now arrived at that
there would be anything superior or different in the forepart being constructed upon the hindpart, either
in the one or in the other position, such would be an error; although it might be so constructed easily
from an exact knowledge of the proportions. Still if we would construct the forepart upon the hindpart,
undoubtedly the position of the forepart taken in fig. 4 is the best, because the parts of the model have the
femorial centre E in common.
Merely on account of variation in style, we see in fig. 3, pl. 29, some deviation in the hindpart
from the usual form, namely, as the figure is according to the measure given normal in the size of the
waist, and as such equal to 15 units; and as CD, so must be AB=8; then CD+ AB=165, the
required size; and is likewise according to the foregoing, correct in form. But to reduce the model in the
seat F, the quantity B E=1 is taken from AB of the end B, and GA=1 is again added to A Bat
the end A, and the line G F is drawn. Thus is GE—=AB=8, and CD+ GE= 15 as above, correct
in size, but varied in form according to condition.
There are on pl. 29 other figures of style, quite conventional, for morning or private wear. Fig. 5 is
such a model, to which belongs the foot piece fig. 6. So is fig. 8, the leg part only, of the same kind, to
which belongs the foot piece fig. 7.
gq 68. There are still other styles presented on pl. 80. To construct these, is from a knowledge
of the system by itself clear. In these models the size of the waist is made equal to 16 units, one unit
being reckoned for the seams, instead of the nett size of 15 units. ‘Thus shewing if such addition is
required where to give it, namely, on the side of the hindpart.
As to the stride of the models in the forepart on this plate (80) the undress side is lessened as much
as the dress side is increased. If however the stride, dress and undress is lessened much beyond its
normal size, the stride of the hindpart must be as much increased. This is exemplified in fig. 5, pl. 30.
See DF—=DE. Besides this the forming of the dress in the forepart depends much on the carriage of
the figure; if for instance, projecting in the os pubis, scarcely any dress can be taken from the normal
size for the undress side, but the dress side must be increased the more for it. The reverse is to be
observed if the os pubis is much receding. In this case the normal size may serve for the dress, and much
may be taken from the undress side as seen in fig. 10, pl. 27.
In the manner hitherto treated of in forming the undress side, it is often preferred to let the line
AB of the forepart run parallel to the line D F of the hindpart, instead of A C and D C, see fig. 2, pl. 31.
Still, which ever way is chosen the extreme stride point BH will demand its natural position. But in all this
change of form in the stride, a certain relation of the point C to A, and of D to B, fig. 3 must not be over-
looked. Therefore we direct the attention to O C= 33, O’D = 33.
AO ‘
69.——There is a way different from the above to define the dress and undress side in the stride,
| namely, to cause the dress and undress to run in the leg line, as C presents on figs. 6 and 7, pl. 31. After
| this condition the points B in both figures must be taken sufficiently low, so that the line BO = AC.
The formation of dress and undress is independent of the size of the stride which may be different, and for
example is in fig. 6 larger than in fig. 7. But attention must be especially given to the harmonious evenness
in the stride curves, which the proportion numbers precisely define. If a model for trousers should be
required without a leg seam it would be unavoidable to proceed in this way to form the dress and undress
side of the stride, which some persons however deem the best in either case, whether there are leg seams
or not; hence we have given the same in the models pl. 29.
70.——There is still another style of models for trousers which is termed the breeches style. See
figs. 4 and 5, pl. 31. Fig. 4 is of a more modern construction than fig. 5. There is something peculiar in
this style of models ; first that the stride is in size larger than in the former ones, and second that the leg
line A B, towards A fig. 4, and G fig. 5, is quite straight, instead of being as usual curved in this region,
If models are constructed in this style it must be observed that unless they are very close in the side, there
will be a fulness on the inside of the leg, in the front as well as hindpart. For that reason if they should
be required close on the inside of the thigh, and full on the outside, such a straight line on the inside must not
be drawn on the hindpart, although it may be on the forepart; but in this case the former mode must be
retained, that is to draw the hindpart curved, which has the effect of lessening the inside of the model.
Their construction is to the nett size of waist; sois GC + DE=8+ 7—15in fig. 4; and if seams shall be
allowed in the size of waist, the quantity EF must be put at the iliac point E, as the pelvial part and leg
part are joined under right angles. But in fig. 5 the allowance for seams in the size of waist may be made
in A as A D indicates; or the half quantity for them may be added in A and the other half in B ; because
in this model the leg part is joined with the pelvial part under an acute angle E F G, as inserted between
the two right angles upon which leg and pelvis join. This latter figure is of importance, so far as it
brings to the mind the fundamental idea of the correct placing of the pelvial part in relation to the leg
part, in the hind and forepart of the model, under certain and various conditions or requirements.
Fig. 1, pl. 31, is a truly original leather drawers or pantaloons model of which the groundwork is the
same as the previous. It is drawn without dress or undress, as the abdominal line runs through the
pubial point. If without a leg seam, as when made of leather, the leg has the position of A BOD K,
and it must be straight in E to fall in the position E G F with the part EBC; if it has a leg seam it may
be constructed so at once. The forepart Mis always taken fully an inch lower than the dotted ground
line. But the hindpart H may be taken as much higher. And if the forepart MIL is formed instead
of M K L, as customary in these kinds of models, then it is better to add at most one unit in K, and take
off the same quantity again in H, and raise in the same time the point H nearly twice as much. This
model is the prior idea to figs. 4 and 5, and even to form the stride of figs. 6 and 7.
There is another model, fig. 8, pl. 31, which has a similarity with fig. 1. But if we observe the
parts in the pelvial region the difference soon becomes manifest; so it is with the leg part which has a
position in relation to the pelvial part far more slanting, and under the same angle to the pelvial part as
that in fig. 5.
This model, fig. 8, is one of a belt drawers, ‘The abdominal line A B C may be drawn, if merely for
a plain drawers, but if for a special belt drawers E F A D must be drawn separately, D C makes the stride,
and C E is held a little on in D E. ‘The hindpart to this belt is GE F, likewise separately drawn, and if
EG of the seat is made larger in size at G, it must be held on in the belt part GE. Although it is not
customary to do so, the point A may be taken lower than it is.
Note.—As to the styles of the bottoms of trousers they haye been and are made in so many forms that their number is endless, in fact every small change
of line produces a different effect, hence arises another style. Fig. 9 is one of the earliest gaiter bottom forms, dating from 1830, and given here for its peculiarly
good foot; but all such forms on the foot are hard and stiff, and for that reason in a fine art sense to be avoided, unless a historical character of costume demands
such minute precision. In forming these bottoms, it is only necessary to observe the centre point A of the heel, from which to place 34 distant on each side, the
strap, running under the sole of the foot. There are other and more modern specimens of this class, producing a different style of trousers from that just
mentioned, namely, those on pl. 30, and pl. 28, which are also more easy in falling over the foot. But whatever style of model is designed, and to whatever form
of figure it is intended, all contraction must be avoided, and an unconstrained, natural fall be insured, and most scrupulously so when they are designed for the
studio of the painter or sculptor. Because the artist sends his works forth not only into the world of his own time, with the intention of raising the standard of
taste, but he likewise, independently of his own will, does so for future generations by the preservation of them. The true artist must have before him the real
object, put in its best form ; in order to endow his works more thoroughly with the true and the beautiful, flowing from his higher and cultivated mental
conceptions,
Al
MODELS FOR HABITS.
MEASURE.
q 71. The measure for constructing a model for a Habit is taken in the following manner: first,
take the measure of the figure from the bone of the neck (7th vertebra) to the waist, and term it back
length ; next take the measure from close under the arm (fovea axilaris) to the waist, which measure is
termed side length, continue this downwards to the ground, which is the skirt length. Secondly, cause
the arm to be held in a right angle with the side, and the forearm to be bent at the elbow, also in a right
angle with the upper arm ; then take the measure from the centre of the back to the elbow, which is the elbow
length, continue from the elbow to the hand, or as far as the sleeve is to reach, which is termed sleeve
length; afterwards take the circumference of the arm, if the sleeve is intended to be tight, but for a loose
sleeve this measure is not necessary. ‘Thirdly, take a measure from the upper end of the sternum down to
the waist, and from thence continue so far as the length in the front may be required, the first of which is
termed front waist length, and the second front style length. Fourthly, place the measure as close
up under the arm as it can be done, running behind over the shoulder blades (scapulee) and in the front
above the bosom, being particular to take it as tight in the same time as it can be obtained. This measure
is termed breast measure (thoracial circumference). Place the measure a second time in the same position,
round the figure, except that in the front it must pass over the most prominent part of the bosom, (over
the mammille) taking the measure easy. This is termed the bust measure, to distinguish it from the
breast measure. Lastly take a measure round the smallest part of the waist, and make it half an inch
tighter than it can be obtained by measurement, which is termed the waist measure. These are the only
measures which it is essentially requisite should be taken for the purpose of constructing a model.
Fashion sometimes demands minor ones, as for instance in the length of a polka skirt, or a cape, &c.,
which however are not such as to require an especial direction.
The form of putting the measures down is as follows:—
Inch 133 Back length. Inch 19 Elbow length. Inch 30 Breast measure.
» 7 Side ditto. » 29 Sleeve ditto. » 83 Bust ditto.
» 00 Skirt ditto. » 11 Front waist ditto. » 223 Size of waist.
Bs 6 Front style ditto.
q 72. ‘The proportion measure by which the model is constructed is made as follows 5 first, take a
narrow strip of paper, grant BC, (fig. 1, pl. 32,) to be such, and in the same time equal to the bust
measure; A B equal to the breast measure. It is necessary to remind that the widths are always taken in
their half quantities in the proportion measures; A B is halved in D; BD halved in E; BE halved in F,
and lastly B F is halved in G; BG is taken as one unit ; hence BE = 2 units; BE=4 units 6) 8) De
8 units; and BA —16 units. The division is invariably made in this manner, whatever the size of the
measure taken from the figure, let it be ever so large or small.
Between the breast measure A B and the bust measure BC there is always a difference A C, which is
termed the bosom difference (BD). This difference, in a female figure, which is not very much abnormal
in the dimension form is in most cases equal to 14 inch, (that is in the half size as mentioned above,) or
nearly so. For this reason it may be observed: if the difference is not found on the measure to be nearly
equal to 13 inch, that the measure has not been taken correctly ; the breast measure being taken too large,
and the bust measure being taken too small. Under these circumstances the former measure may be
taken less, and the latter somewhat larger; so much so in both instances that the bosom difference shall be
equal to 13 inch.
42
The AD must be halved in 0, and Bo is termed the normal size of the waist, (N), this means the
bust size in the sense of taste in relation to the thoracial circumference (breast measure). Below this
normal size B 0 is a line denoted by R. This line R means the real size of the waist, which is the true
measure taken from the figure. We now compare these two quantities R with N, and if we find that
R=N, we say the form of the figure is normal in the size of the waist, and there is nothing farther
to observe with regard to the size of the waist, except that the model is constructed normal in this
respect also.
Fig. 2, on pl. 82, presents another measure similar in every respect to the former, except that the real
size of the waist ‘R is here given less than the normal size Bo; hence the difference D-, termed negative
difference. A second case is presented by the line R’ where the real size of the waist is greater than the
normal size Bo; hence the difference D*, which is termed positive difference. A
PROPORTIONATE FORM.
q 73. Fig. 3, pl. 82 presents the hind part of the model for a proportionate figure. The proportion
numbers (co-efficients) are all determined by the proportion measure, as A B= 2 on the hind part are equal
to 2 units of the measure, and so on with the remainder, except the side length CD, which is directly
determined by the measurement of that length from the figure. ED= 4 is taken off from the hind part
as the line EF shows. In the same time it is not unimportant to remark that all these proportion numbers
are deduced from the real figure, treated of in Anthropometry.
In constructing the hind part we proceed in the following order :—first, determine DC; then CB;
afterwards B.A. Having gone thus far, apply the back length taken from the figure, and if EA be found
equal to it, we may know that the figure is proportionate. Second, erect perpendiculars upon D A in every
one of the points D,C, Band A, and determine the ordinates as the proportion numbers ( co-efficients) show;
lastly, the style lines LM and NO are drawn as seen in the fig. 3; and the style form ALMNOis
distinct from the ground form AGH K F E.
4.——The forepart belonging to the proportionate hind part is presented in fig. 4, pl. 32. First,
AB is made equal to the side length, as the measure directly gives it taken from the figure; BC, CD are
determined by the proportion measure, as the proportion numbers show; second, we erect the perpen-
diculars ED, CF and GB, making BH equal to the bosom difference; draw IH K, EF, and GL.
Halve OH in P, and take a point Q, so that PQ=4. Take the form MU broad according to the style
of the time and good taste; draw QM and shape the curve Q M R by free hand; draw out from the centre
Q with the distance Q M a curve MS, and with the distance Q R a curve RT; deduct M U of the forepart
and F E of the hind part from the normal size of the waist, and then make V § equal to the remainder
of the size; lastly, shape the curve QST similar and equal to the curve QMR.
To obtain the form in the shoulder, we place HG of the hind part in F E of the forepart, in a similar
manner to that in the construction of models for Dress and Frock in parapraph 26. The line W X will be
the result, but here the curve W Y deflects in the direction Y Z, in a reverse direction from Y X. The rest
of the curves are drawn as seen at fig. 4 by free hand, and need not further explanation.
BROAD FORM.
q 75. The hind part fig. 5, pl. 32, presents a part of the model for a figure which is broad in its
form. First, draw a line AB, make AC equal to the side length, and proceed with CD and DB exactly
as in the foregoing hind part, paragraph 73, and as the proportion numbers indicate; this done, we apply
the back length; finding that A B is longer than the back length, we know that the form of the figure is a
broad form in relation to its height; we draw another line EF, and make EF equal to the back length.
After this, we make EG equal to AC, equal to the side length. As now the side length is precisely given
43
through measurement of the figure, it must follow, that all the shortening is in GF. To bring GH to
HF in the same ratio in which C D is to DB, it is only necessary to observe that CB is equal to 85 units;
such units being described in the proportion measure, paragraph 72. For this reason we halve GF in I,
and halve again I F in K, take a point H above K as much a of an unit; then the ratio is as nearly as
needed obtained; because GI is equal to 4 units, I K equal to 2 units, and K F is equal to 2 units; hence
GF is equal to 8 units; therefore GK is equal to 6 units; and as GH is more than 6 units, and F H less
than 2 units, so it is undoubted that the ratio GH to H F is very near C D to DB. The remainder of the
hind part for a broad form is constructed as the hind part fig. 3 has been described, and does not require
any farther explanation here ; besides the proportion number define such quite completely.
q 76.——The forepart of the broad form is presented at fig. 6; the manner of its construction is the
same as has been shown in paragraph 74 as the forepart for the proportionate form. The form in the
shoulder of this broad forepart, is decidedly different from that of the proportionate forepart, which arises
from the difference between its hind part fig. 5, and the proportionate hind part fig. 3, and should not
therefore occasion any surprise to the student.
In the fig. 6 we may in the same time remark upon the case of there being in the size of the waist a
positive difference (D+) as already has been alluded to in the paragraph on the measure. Here it is meant
to explain how this D* is to be distributed in the forepart of the model. After the normal form is
constructed, it is only needful to add, in the region of the waist in the model, A B =} D+, and in the same
time add CD =3 D* to it, see fig. 6, pl. 82; draw the pointed lines at C and B and the forepart is finished.
SLENDER FORM.
q 77.——The hind part of the model belonging toa slender female figure is presented by fig. 7, pl. 32.
First, we draw a straight line A B; make AC equal to the side length, as was done in the two previous
instances; make C D as well as D Eas large as the proportion numbers show. Having done this, apply the
back length to AE, and if it is found that this length exceeds AE, it shows that the form of the figure
from which this back length is taken, is a slender form, and we make AB equal to the back length,
keeping the difference EB carefully in mind. Now we erect the perpendicular in B,upon B A, and
proceed with the construction of the remainder of the back part, as shown in that of the preceeding ones,
and as the proportion numbers sufficiently indicate.
It must be by itself evident that the procedure of adding the entire increase on the top is correct:
because AC is a measurement given directly from the figure; CD is determined by the proportion
number of the breast measure, and the breadth of the arm must occupy the space FG; hence there is
no other place where the figure could naturally receive this increase E B, which was actually obtained by
taking the back length direct from it. The hind part A BF GH fora slender form is therefore correct.
The line of the style form in KI is not always made use of; it is sometimes not drawn at all, at others
laid more towards G, inclining more towards H, and receding from I; but this is of no importance and
may be done quite at liberty.
4 78.——The forepart, belonging to the hind part fig. 7, is presented by fig. 8, pl. 32. This part of
the model also is constructed as those previous, except that AB is made equal to EB of the hind part.
The form in the shoulder of this forepart, so different from the other two, must not either surprise the
student, as it arises from the mere increase of A B and EB in the height of the axilla on the figure ; and
hence the form in the model.
This perhaps is the most suitable place to show how the negative difference (D7) is distributed on the
model, in case there should occur such by the measure. After the normal form of the model is entirely finished,
deduct from CD the quantity EC=}3D-, and draw the pointed line F EG; sce fig. 8. In the same
time deduct the other half in fig. 7, namely take from AH the quantity HL—=2D~; and lastly draw
K M, ML, so that the point MG=7zHL. y
4A
In regard to dimension we have now treated upon all kinds of forms in the model according to the
female figure, namely, proportionate, broad and slender forms. We have considered also those cases
which may arise in the size of the waist, that is, that each form may be normal, positive or negative in the
waist circumference. Normal means that size which the waist has in an aesthetical sense (that is in the
sense of the beautiful) in relation to the size of the breast (thoracial circumference) ; positive means to
exceed, and negative to be within the normal size. We shall now pass on to the rest of the plates
belonging to a Habit model; but before which we must not neglect to observe that all these models are
constructed in regard to position, as if the figure in this respect were normal; if the figure should be
abnormal in position, that is round in the back, &c., &c., to which the model is constructed, then such is
to be varied according to the rules given in paragraphs 30, 31, and 22, on the variation for dress and frock
for the male form ; because position is the same in the male and female forms, but the latter is very seldom
abnormal in its position, although often so in dimension.
SLEEVE.
q 79. The sleeve part of the habit model is a matter left almost entirely to the guidance of choice
and fashion ; see fig. 1, pl. 33; still there is something calling for observation, which does not appertain to
either, namely, that A B = 23 is always the required quantity, because the breadth of the hind part keeps
uniformly the same in the direction across the lower angle of the scapula. Farther, A C is always equal to
the half of the axillar line (arm hole) of the model; AC is halved in D, and DE made equal to 1 unit
of the measure, if the shoulder remains unaltered, otherwise this quantity is increased or decreased
according as the shoulder of the model is made narrower or broader. In the rest of the sleeve part there
is nothing to observe more than that it is drawn easy, and by free hand, suitably to the changes going on
at the time.
SKIRTS.
{| 80. —The skirt as figs. 2 and 3, pl. 33 show, is very simple; but there is one particular
accompanying it which must be borne in mind, namely that AB fig. 2 is the breadth of the cloth, double,
and the same is to be remarked of A B fig. 3, which is also the breadth of the cloth lying double; A C is
on both the figures 2 and 3 the entire length of the skirt from above the hip to the ground, and CD is
equal to 3 AC; so namely, that the whole length of the Habit skirt is onc half longer than the entire
natural skirt length of the figure. Sometimes it is made even longer than this. Fig. 2 is the hind part,
and fig. 3 the forepart of the skirt.
It is sometimes the case that the forepart of the skirt is slanted off towards the top, as seen at EF in
fig. 3. In this case GH must be halved in K, and a perpendicular be drawn from K upon FG, and the
curve from F to H drawn by free hand, cutting away the sharp angle F KH. Also L B must be halved
in M, and EN drawn; and lastly if fashion requires it, as at the present period, then the curve EO must
be drawn suitably to the front part of the model in the forepart.
The small jacket skirt belonging to the Habit is shown at fig. 4. Here A B is made equal to about
5z Inches ; a perpendicular line C A is drawn in A under a right angle to AB; the right angle C A D is
halved in the line E A, and this obtuse angle DE A is again halved by the line EF, thus E F is prolonged
toH. This being done the skirt is folded together, as represented at fig. 5.
The polka skirt, much in favour at present is shown at fig. 6. First draw A B, fix the length of the
skirt AC; make CB=2R; draw out of the point B with the radius BC the circular line C D E; make
DE=8; BF=1 unit of the proportion measure. Draw FEG; let a perpendicular D H fall out of D
upon FE; make HG=AC, and draw the curve H DC by free hand, similar to the full drawn out
curve in the plate given.
Of the proportion measure fig. 7, there is nothing more to observe than that such is the same as the
esate eres
45
foregoing, which has been fully explained in its place. Fig. 8 is a form for a collar which may easily be
drawn by free hand, or imitated at sight.
MODELS FOR OVER HABITS.
q 81.——To be able to construct a model for an over Habit, as in the case of a Polka or a Paletot,
construct first the model of the regular Habit, and after this is done, make the proper increase suitable to
the purpose of being worn over. Pl. 34 presents a Polka Habit model which can be worn outside, and still
go easily to the figure should there be no under Habit. Fig. 1 upon this plate shows the hind part A BCD
EF of the regular Habit model; and the increase 2 round the shoulder and back as well as the increase at
F, namely FG= 84 which give the hind part of the desired model. HIMN belongs to the hind part,
and H IK LG is the side of the model.
Fig. 2 presents the forepart of this model. Here A BC DEF is the part of the regular Habit model,
where the increases show the form of the intended model, that is GH =11; DH=:: H I= &e. &e. as
the numbers indicate. Farther drawaline LM, and halve it in N, draw O K through the point N, and take
out the piece K N O, the width of which must be guided according to the closeness or ease which the
wearer wishes ; sometimes there is nothing taken out. Ifthe length of skirt of the hind part A N= 12 units
taken from the proportion measure, then the skirt of the forepart MP—14 inch units. See figs. 1 and 2.
Fig. 4 presents the measure according to which the model is constructed. The sleeve part of this
model is constructed as indicated by the habit model, or sometimes as fig. 2, pl. 85 directs. The collar part
is similar to that shown in the habits, but most frequently as presented under fig. 3, pl. 34.
This collar part of the model is very elegant, and its construction is the following: first make AC = 13,
AB=43; draw from the point A, with the radius A B the circle BD E; make GFF D, draw out from
A with the distance A G the pointed circle line GH; and after this, draw out by free hand the curve as seen
by the full drawn curve GH; make D I=}, and draw the curve BIE by free hand, Lastly, draw out by
free hand another curve IK, so that K L—1 is the height of the stand, and K H the breadth from the
turning curve I K.
q 82.——Fig. 1, pl. 35 presents a model for a paletot. First ABCD EF is the ground work of the
hind part of a regular habit, where the increases are made round the shoulders and back, as the numbers
sufficiently denote ; but to obtain the increase in the side, we make GH = 1, draw HB, and erect upon
BH a perpendicular HI; make HK=GE, and KI=2. ‘The rest of the form is self-evident, the length
being made as required, but it must not reach lower than to half the length of the thigh, or otherwise quite
to the knee; to be any longer than this looks extremely bad and ungraceful.
Fig. 3, pl. 35, presents the forepart of this model. Here again ABCD EFG is the ground work
of the regular habit, and the proportion numbers sufficiently show the increase so as to render any farther
explanations needless. But it may be observed by this model also, as it was observed of the former, that
if A L=15, as skirt length of the hind part, then it must follow that GH = 163 as skirt length of the
fore part.
The proportion measure fig. 4 is that by which the model is constructed. The sleeve part fig. 2 is
first constructed as shown by the model for the Habit, after which the form A BC and A D Eis drawn by
free hand. FG is without a seam; A B and A D are joined by a seam. The point H of the sleeve part
must be put in at the point I of the fore part; and the point G at the point M of the hind part.
All those lines which do not belong to the ground work, but solely to the style of the model, may be
varied according to pleasure, still it must be borne in mind that such variations can never be made without
carrying the human form in the mind; accordingly every style line must have its form and direction more
decidedly to the figure if the garment shall preserve a fit or closeness to it, and be less expressive of the
46
outline of the form if the apparel is to be loose or easy. See the form round the shoulders and in the side.
To these sort of curved lines belong also the side curve of the hind part; namely HI of fig. 1, pl. 34.
This side curve H I may be placed sometimes nearer to A, at others nearer to F, but wherever taste or the
character of the article requires it to be placed, the curve must always run so as to maintain a similarity
to that drawn in the models. What is here affirmed of this particular curve in fig. 1, is equally true of
the corresponding curves in the Habit models on the plates 32 and 33. In a general sense it may be
invariably observed—similarly as the muscles by covering the skeleton form take away its sharp angles:
and even so as the skin and other particles under it conceal the abruptness of the hollows of the muscle
form, without ever disturbing or destroying the gentle outline of the human figure, in the same manner
must the apparel, or in other words the clothing or drapery never destroy or distort the form which it
covers; whether the clothing is close or easy and unconfined on the figure; the natural and elegant
character of the human figure must never become obscured under the hand of an artist, as we so frequently
witness that it does under the hand of a bungler, who is at all times too young or too old to learn,
and then making an outery for protection when his trade is languishing through his own idleness and
selfishness. It is to obtain this perfection in modelling that scientific knowledge is valuable to the artist ;
for scientific art can create, obtain and achieve that which without it never could be attained.
In the conclusion of this article it may be worthy to observe the following: the integral parts out of
which a piece of art consists are often termed in scientific language, elements; we may therefore thus
express ourselves in reference to the idea of wsthetic (the sense of the beautiful); a thing may be beautiful
in art as well as in nature, if suitable elements making up the entire thing are all in harmony with each
other. From these truths we may therefore deduce the rule, that the garment as an integral part of the
clothed figure, must harmonise with the unclothed figure for which it is intended ; the material as well as
the form of the garment must suit to the purpose and the occcasion for which it is required, and lastly the
integral parts of the garment itself must also have suitableness to the same end, and harmonise with the
entire, All this must be brought first into the model, after which model the garment is to be formed, as is
done in the accompanying plates; for whatever is neglected in its construction, will of necessity be neglected
in the apparel or drapery of the figure.
When this rule is observed the apparel may be so arranged to, and laid on the figure, that an other-
wise menial looking person may appear more beautiful and refined than the same would in a set of garments
of unscientific and bungling hands; but notwithstanding all this, on a sloven, without intellect or morals,
the apparel will never lay so gracefully and elegantly easy as it does on the figure of a morally and mentally
endowed person. There is something in the carriage which gives the air of nobility to the form which the
material element can never create, but which it may preserve when it is already in the form. Such is
therefore left to a higher immaterial element, which through learning must be as a collected being in our
consciousness. The painter and the sculptor who strive to create life in a piece of art, have to watch this
either in a representation of the human figure, naturally or clothed. But the artist whoever he may be in
constructing the model for the drapery must never neglect the mind of the person on whom he is engaged,
or he will fail in making the result of his labour correspond to that superior mind, and its external form.
1 RE
AT
MODELS FOR OVER GARMENTS FALLING TO THE FIGURE.
q 83. Models for over garments are constructed by the same measure as those for dress garments,
except that the proportion measure used for an over garment model is taken of the next size larger than
that for a dress garment, which is the exact size of the human figure. For instance, if the measure taken
from the figure in the breast (thoracial) circumference, were 18 inches, a measure of 18} must be used ; or
if the size were 17} it would be necessary to construct by 18. The proportion measure fig. 1, pl. 36, is that
by which the models are constructed, as is already explained in former paragraphs, and with which we are
especially acquainted under the head Mensuration. Here A B is granted to be equal to 183 inches if 18 was
the measure given; or AB is equal to 18 inches if 173 was given as the breast measure. In a similar
manner as the proportion measure A B is taken } inch larger than the exact size of the breast measure, so
also the size R is to be taken as much as } inch larger than the size of the waist given. The same rule is to
be applied to the ground length, that is, to use the next size larger measure by which to construct than that
actually taken from the figure. Here we must make a few remarks, although such have been already
brought forward in the part treating upon measuring ; namely, that many artists take a measure habitually
very easy, while others again take it extremely tight; and few have the tact to take it perfectly, neither
too tight or too easy. This arises from carelessness and thoughtlessness. It is therefore needful to repeat
that to take a correct measure, the careful attention of the student is demanded, with repeated practice
before he can hope for much success; keeping closely in his application to the rules laid down in that part
of this work on mensuration.
Although constructing a model for an over garment by the next larger size measure than is used for
that of dress and frock, still the model for this garment would not be large enough, and further, the using
of a still larger sized measure would neither answer, because the model requires to be increased in certain
parts, but not in all, which could not be accomplished by merely constructing it from a larger measure, as
shall soon appear.
q 84. The original idea for constructing a model of an over garment is presented in fig. 2, namely,
where a model constructed for dress, was cut up under the arm A B, and opened 3 inch; opened as CD
equal to inch; and opened at EF as much as } inch; added to in GH ¢ inch; so that in G it came off
to nothing, and in H there is only the full addition of inch; further the surface was opened at IX as much
as i, and lastly added to in LM equal to 2 inch. Now to construct a model at that period of his knowledge,
with these increases through the means of co-ordinates, was not possible for the artist, because not knowing
the definite proportions of the human figure, he was at a loss even to construct a plain model, and the
best he could do was to produce a few middling sizes; still less was he able to construct one requiring
variation through the position of the figure, style of dress, or that the garment should be an outer one—
hence modern drapery so tasteless in the productions of art, when otherwise ever so beautiful.
We see in this case, the construction of an over garment model, that the variation consists more in the
increase of certain parts of the model, and not in all parts; as for example those in the direction of the
shoulder, which are increased in length but not in breadth; hence a larger sized measure, even under the
same proportions would not answer, as there are certain ratios in the model to be varied.
q 85. Before proceeding to explain which numbers expressing the different ratios are to be varied,
it is necessary to remark that the method of proceeding in the construction of models for over garments is
quite the same as that already described in the article which treats of the construction of models for dress
and frock, and therefore it is only needful to name the special parts of increase. Firstly, fig. 8, increase the
dorsal region, so that C D = 7% instead of 7 units, as in the dress models, making the increment $; make
C E= 8+ instead of 73, thus the increment is $+; make A B= 8} instead of 3; B F—1, and the different
48
increases in the co-ordinates C D, C E, &c. &c. are determined which were necessary in the back part, in
consequence of the garment having to be worn over another. Now place the measure of the natural length
of the back on the hind part 4 lower than A, say from G, and lead it to H, because the garment will carry
up thus much in overlaying another, and if the figure is perfectly formed, the length of the hind part GH
will agree with the natural back length; or it will reach a little beyond H if the figure is stooping or
round shouldered, and the reverse if the figure is very upright. Farther proceed as in the case of the
models for dress. The length H I downward from the natural waist H is made at liberty, or as long as the
style of the time requires it. But this model being for a plain great coat, it is made after the numbers
given. Secondly, the co-ordinates in the fore part, fig. 4 are increased as follows: —A C= 53, instead of
d3; ED=3t; FC=81; AB=10, and BG=8. The point of inflection in I at fig. 4 is equally
correct, as the H I—1 or 1}, and this is 3 less than the depression or indentation in the human figure, and
consequently it is also { less than in the models for dress, These increases have the most effect in the
diagonal K GI, which if it were really drawn and measured would prove to be so, when comparing it with
the same diagonal in the model for dress. The result in fig. 4 is the same as that produced in fig. 2, but
the proceeding in fig. 4 is easier and more practicable under all circumstances, although the principle in
both is equally correct.
The skirt part of the model, fig. 5, is produced as that in the models for dress, and for this reason need
no further explanation. The collar part of this model, fig. 6, presents neither anything requiring remark,
as this is also the same as described in the model for dress, but with the slight difference which is
presented in the collar model, fig. 1, pl. 38, sufficiently indicated by the proportion numbers and the co-
ordinates.
The sleeve part, see fig. 2, pl. 37, is in a model of this description, which is constructed for a garment
to be used as an outer one, somewhat different to that for a dress model, and which difference is first, that
the distance from the centre of the back to the pectoral height A C is full a 4 inch more than that distance
is in a dress model, reckoning for carrying up. For this reason make B C — 3+ or 33 instead of 33; and
if for a figure round in the back allow still more, say 4 instead of 3%. Second, there is this difference,
that in fixing the elbow D in a dress model no seams are allowed, but in the model here described the
seams must be allowed for, which go off in the breadth of the hind part, and in B from the sleeve part, by
putting them together. And lastly it may be observed here that whatever greater breadth the back is in
a model for an over garment than its normal breadth, C B must be made always equal to 33. The size BA
is equal to the half axillar curve (arm hole) usually equal to 84 units, instead of, as in a dress model 8 units.
The mode of construction is here again the same as before, and calls for no other explanation, and what is
said of the sleeve part of the model is also applicable to the sleeve part in pl. 88 and pl. 89. The width of
the hand and elbow is much at liberty; a good proportion at the elbow D E is equal to 7 or 74; and the
width at the hand is 6 units.
q 86. ‘When first the principle is understood by which models for over garments are constructed
it is extremely easy to construct any model for them, whatever kind may be in demand. The variety of
names which are given to them relate more to the style of the article, and not to any principle in their
construction. It is therefore necessary first to understand the principle of constructing over garments,
before entering into those varieties of style; and it must here be observed that all varieties of form, in
position as well as dimension of the figure, are in the model now described treated exactly as was instructed
in the paragraphs on dress and frock models. It may not be superfluous to state that just so much as the
size of the model here is larger in the thoracial line (breast) than the actual breast measure, so much larger
also must be the size in the waist of the model than the measure of the waist. The usual difference is
from 1% to 2 inches.
With this preparation we proceed to the style of models for over garments. Among them there has
always been one termed the Israelite or Jewish Pelz. ‘The Polish as well as the Russian Pelz are in their
chief parts the same especially in form, the difference consisting of ornaments. Indeed all eastern over
garments are of this kind of form. It has no seam in the back, neither in the waist across, but a seam in
the side from under the arm down the length of the skirt; sometimes the seam is placed a little more
backward, and occasionally quite in the side, about in the half of the figure.
A9
This gave the idea which led to the construction of a model of the same form, but only reaching to
the knee, whereas the Pelz reached to the ankle. A collar was also added, which already the Russian had
adopted, (the eastern had no collar). Such an over garment was known by the name, “ Taglioni,” and it
looked very well when not too tight, but allowed to fall loosely. But the English fashion at that time
1835, when the Taglioni came in demand was such that people were screwed and-strapped up in their
clothes, and consequently this style of garment was too loose, while it was not easily made close to the
figure, and at the same time to look well. From this circumstance a model was suggested wherein the
hind part had a seam as in a great coat, see fig. 7, pl. 36, with the side formed wider than a great coat,
but not so wide as a Taglioni form. The side line in the hind part was, by the ignorant, which is always
the greater number, not drawn in uniformity with and naturally to the figure, but independant of it, as if
the figure had nothing to do with contraction of the model; but only the learned artist can preserve a
natural and beautiful form. Of this better description is the model we present.
The forepart of the model was divided under the arm, and behind in the waist as represented at fig. 8,
and C D made equal to AB; this gives a really elegant model of an over garment, but at the time of its
introduction not known by any especial name. The groundwork which lies in the co-ordinates is
unalterably the same in this model, as it is in those given under figs. 3 and 4, of this plate. The model
fig. 8 is constructed also the same, whether the garment is to have one or two rows of buttons, or whether
buttons are put on the hip or not.
4] 87.——Although the model just described gives an elegant and agreeable over garment, still there
was and is yet a lingering towards the more remote, as if the mind were reluctant to lose the ancient, and
would if possible modernise it, but at the same time produce it in greater beauty: under this idea another
model was designed, figs. 3 and 4, pl. 87, approaching more nearly to the eastern in style and form, except
the collar and lappel parts, which the model presents. The groundwork here is the same as that in the
models just described, except in the side: namely, to obtain the line A BC in fig. 3, the point A of fig, 4
is placed in the point D of fig. 3, so that A B of the one lies in the ED of the other, and in this position
the curve CD E of fig. 4 marks the curve A F G of fig. 3; the point of inflexion F is marked, and accord-
ing to the closeness desired in the waist FB is carried in equal to 3 or not, or even less than F, as the
softer line at F C shows; and either this latter line or the curve A BC is drawn. If the point of inflexion
is taken as B, or left in F, the side curve is drawn the reverse from A F G. In case of taking B as the
point of inflexion the CG— 2k, but if Fis retained as such, then © G = 3, and so still farther increase
the number, if the point F is carried farther out so as to indent the curve in F less.
We see there is a law between the position of the points B and C, which so operates that if the one
moves out of its place, the other must move also, or the ratio which these parts of the figure bears to one
another would be destroyed. The closer the model is constructed, the sharper, and more exactly these
points must be kept in observation; but in the case of its being constructed rather easy, this curve A BC
runs less sharp, namely as AFC. If the model is close the garment is stretched in B, and the lining which
is not of a yielding quality becomes a small wedge to make up for it, otherwise it will not fall naturally to
the figure. A garment made according to this model is also very plain and elegant, if it comes from the
hand of an artist. The sleeve part, figure 2, of this model is the same as has been just described in the
former paragraph. This model received the name of « Tag,” most probably an abridgment of Taglioni.
87,.——Besides the Tag, there is designed another model as is presented under the figures 5, 6,
and 7, pl. 37. This is termed the Tag great coat model. An over garment made from this style of model
is highly becoming to the figure; as most styles when artistically made are agreeable ; while the same
styles produced by a bungler are most unbecoming and ugly, and leave the impression that the garments
made according to them do not belong to the figure.
The construction of this model is clear from the foregoing, and it does not therefore require more to
be said; but it is here the right place to compare fig. 6 with fig. 3 in the part which forms the iliac
region (hips). In fig. 3 it will be seen that C G — 22; in fig. 6 we have C G equal to 1 only; now it must
be remembered that fig. 3 has no spring in I from H downward, and fig, 6 has the whole quantity DAB;
50
so namely that the quantity C G + D B in fig. 6 is equal or nearly equal to CG in fig. 3. This fact must
be borne in mind, that the entire quantity allowed for the play of the iliac region (hip) is unalterably the
same, in whatever form of model it is given, and although it is given in ever so many parts, or in one
undivided quantity. Fig. 1 represents the proportion measure by which the models on this Plate (37) are
constructed, known from the former; and fig. 7 of the same plate neither needs to be explained, as it is also
described in the paragraphs on Dress and Frock models. But it may be observed that in order to fix the
spring D F of the skirt part, the side part C B has only to be placed on D E of the skirt, so that point C
falls in point D, and the F D has to be drawn running even with IC of the side part. As shown in the
foregoing, A B of the skirt is made equal to C B+ DE of the fore and side part. It may be further men-
tioned that in this style of garment the lappel from F to H is often entire with the forepart from F to E,
and a wedge only taken out in the place of K FL.
q 88. The thought may here occur that the forms of style are exhausted, but it is not so; another
model was designed for an over garment as presented by figs. 3 and 4, pl. 38, termed a Paletot. This
model had little original ; not having a seam in the hind part was the style of the old Taglioni, and having
the skirt flapping open in the side at A B (sce fig. 4) instead of in the middle of the hind part gives the
garment a bungling look, like an Arabian shirt torn open at the side. This unsightliness was not
therefore adopted by any artist, and that persons of taste would not wear the garment was shown by their
preference for another produced from the model presented under figs. 7 and 8, pl. 36; the forepart fig. 3,
pl. 38, contains neither anything new in form, more than that the skirt is rather scant; for the line A B,
which here directs the skirt part being drawn out from B, instead of from C, causes the skirt to flatten ;
and beyond this it is still farther flattened by sinking it in A about 3 an inch, as A D = } presents on
fig. 3. The line ED is made larger by } an inch than F G which is for holding on, otherwise, as the
skirt is somewhat scant it would look very unsightly.
Almost all over garments are at present comprehended under the name Paletot; and yet it is a real
fact by the side of this, that the artist, the manufacturer, and the wearer, taking them in general as a body,
avoid out of absolute dislike to form, to manufacture, or to wear that identical article which goes under the
name of Paletdt. The cause of this becomes clear when we point out that the human eye, from its natural
cultivation in the beauty of form recoils from the straightness and stiffness so characteristic of the back
part, which is a consequence of there being no seam, and besides, the unnatural flappish look of the skirt
in AB, fig. 4. Equally faulty to the eye is the too great scantiness of the skirt over the hip in relation to
the depression in the waist above the iliac region, which produces a stiffness in this part not in corres-
pondence with the figure; although the paletét is designed to be a garment falling easily and naturally to
the form. Thus the purpose and the form are in contradiction.
gq 89. From these objections arose the suggestion of another model designed for an over garment
receiving the name of “ Piuma.” This has a seam behind in the middle of the back. ‘The forepart is therein
different from the Paletdt, that the side part G F (see fig. 3, pl. 38) is placed in D E, and that, and the
skirt part are cut out of one piece, having no seam in DG; but the forepart has a seam in EB going
through to the front edge. ‘The seam in the back part is like fig. 6, instead of the flap in A B in fig. 4.
q 90. To produce the greatest simplicity and beauty, and to satisfy the ever restless mind of man
in creating the new the true and the beautiful, another model is designed for yet another over garment.
It is presented under figs. 5 and 6, pl. 38, and termed the “ Teuton.” This model and the other under figs.
7 and 8 on pl. 36 are the two most beautiful we think, that have yet been designed.
Fig. 6, pl. 38, has not always a step on the hind part as may be seen at A; but often has a slit up to
A from the bottom. The forepart fig. 5 is very different in style from the Paletot. The scapula line A B
runs in a straight line with BC, and the hind part is placed with its scapula line BC in AB of the
forepart, so that the point B falls in A; the point D is marked, from which the indentation is fixed,
DE=1; the point E of inflexion is marked and the proceeding is as usual.
Through this method that the scapula line B F of the forepart is placed in the direction A B, it causes
51
the surface of the model in GH to be as much as 14 inch too large. Hence we have the power to take
out of this surface a wedge G B H, also its inverse wedge GI H in continuation. The lines GI and HI
cut I from about 34 to 4 inches below the part G and H, and the model is now constructed. But these
lines I K and IL may be continued to the bottom of the skirt, and a model so constructed makes another
variation in the style; but one not so frequently chosen, because a seam carried down the skirt on the
side is not generally liked.
Of the measure fig. 7 as well as the collar part fig. 1 and the sleeve part fig. 2 there is nothing to
remark, as these parts are the same as before described.
From the explanation of the foregoing models it must be quite apparent to the student that he should
never allow himself to be carried away by names, but must fully comprehend the things, which he may do
without however despising the names which they carry. So far as the thing itself is concerned in these
models there is nothing essentially different between them. What difference there does exist is in style,
the groundwork of each is not at all different, and never can be, so long as such models are for garments
to be worn over others, and in the same time falling to the figure.
MODELS FOR LOOSE GARMENTS.
q 91. In this paragraph we have those models to consider which are for loose over garments,
termed full drapery.
To these belongs the plain or straight loose wrapper, as presented in figs. 3 and 4, on pl. 39. The
construction is so simple, it will be immediately apparent by giving attention to the proportion numbers
made on its co-ordinates. It has to be mentioned that the forepart in A B is as much as 1 unit longer than
the hind part in CD; so that AB—1=CD. Also it may be farther observed that the hind part, in
forming the shoulder must be kept in C as a centre, moving it round this centre, so that D E opens equal
to +. In this Model-will be perceived lighter full drawn lines than those heavy ones constituting the original
model, which denote a second style of loose garment, termed the new Piuma. See first the fig. 3, the G H,
the E K F, and the light full drawn line at CI D, mark the lines for this model. On the forepart fig. 4 is
shown corresponding to the first the full drawn line HI. It is by itself clear that what the hind part
loses, the forepart wins, as soon as the ground lines are placed according to the foregoing instructions.
Of the second sort figs. 5 and 6 on this same plate (39) present a model for a more loose kind of
garment than the former, termed a Driving Cape. This description of drapery is often very full, and
sometimes approaches a Cloak with sleeves. It is also made long for a carriage, and short, not reaching to
the knee, for walking ; sometimes it is made over the knee for travelling, and again for an Opera Cloak.
In this last instance it is finished with a shawl collar, as fig. 7. When for travelling it has a collar as A
shows in the same figure, 7, but for walking dress a collar as shown at fig. 8.
The construction of this model figs. 5 and 6 is first exactly as the straight wrapper just described, with
the difference that we move the hind part in forming the shoulder fig. 6, round the vertex V so far until
O M =3, instead of, as in the other model only #.
As the Driving Cape model is always formed full in the hind part, and the fulness must be in A V B
(see fig. 5) so we can move the piece V A DC in the position V B F E; draw F G and G H, and the hind
part is finished. It is evident that A B= 1} in this instance, may be far more increased, and made just as
much as we like the quantity of the drapery to fall loose to the figure.
The forepart fig. 6 usually suffices in fulness as EG H BD represents; but if more fulness is required
52
than this it may be proceeded with in a similar manner to that which has been done with the hind part ;
namely, by moving the part BA V in the position VCK, so that AC=1 in this instance, or more
properly so as to correspond with the inerease made on the hind part. The ratio according to which these
increases augment is 1} to 1, if the fulness on each of the parts shall maintain a continual harmony. As
we now presume A BD to be in the position CK L so is the increased difference of BD LK to the
increased difference O H B KIM in corresponding ratio, and the entire increase of the forepart in correct
ratio to the entire increase of the hind part.
It may not be out of place to repeat that in fig. 2 the quantity BC —3$ or 33, however broad the
hind part may be made by the increase: because the increase in the hind part is taken up in the region of
the scapula, and therefore it may be considered as not in existence if we take the breadth of the hind part
in relation to the height of the sleeve part. The measure fig. 1 on this plate is the same as that before
described.
q 92.——The most elegant of loose drapery is the cloak, and the artist is the most lucky with this in
draping the human figure ; but it is curious, although so loose to the figure no part of the attire looks so
bad as a cloak not well carried, and nothing looks worse than the quantity of the Cloak not being well
adjusted or arranged to the figure in sculpture or painting. Form and carriage of the person are the chief
considerations according to which the quantity in the cloak is to be regulated. It is for this reason
necessary, first to calculate for a model the right quantity from the measure given of the figure ; second to
give the model that form which shall be just and correct to the form of the figure, otherwise the quantity
of drapery can never be correctly adjusted to it. Some artists believe that they may proceed more indif-
ferently with this article of apparel than they can do with those garments which lie closer to the figure;
but whoever has acted on this belief has paid dearly for the mistake.
q| 93.——Before proceeding to the construction of models for cloaks it is needful to mention that the
proportion measure by which the model is to be constructed must be taken 1 or 14 inch larger than the
breast measure from the figure, taken over the waistcoat in the thoracial circumference ; for example if the
size, from the measurement is 18 inches, 19 or 193 inches must be used. Under fig. 1, pl. 40, a propor-
tion measure as usual is presented, suppose it to be of this mentioned size. The measure, it will be seen, is
on a much smaller scale than those previous, because so much space would otherwise have been required
for the models. And as will be easily perceived, the unit is in this instance made equal to } of an inch.
First is presented the model of a plain Cape, fig. 2, where A B is made equal to the length which
may be chosen for the hind part of the figure. Next is taken the radius B C= 4, and a semicircle B DEG
drawn from the centre C with this radius; a perpendicular C F erected in C; the chord FG is drawn; it
is halved in H, and C I’drawn ; the chord B E again is drawn and halved in K, and C D drawn through K ;
DC halved again in L, a perpendicular M L is drawn in L upon DC and M L made equal to} LD; and
lastly, out of M as a centre isdrawn the circular curve AOI. This Cape model is made in A B often very
long, or it can be quite short according to different purposes, still the construction is the same in every case.
It is seen that BC E=185°= 14 R angle. The model does not necessarily require greater width, but less
must never be taken, because this is the area of the axilla in the human figure, and generally correct. If
taken under a less angle then the figure would have a confined and cramped appearance round the neck,
well for a caricature but not in accordance with a tastefully or elegantly draped figure. If this Cape is
put ona Cloak or any other garment the front part E does not reach quite to the end of the collar, and
that by 1 inch.
q 94. Figure 3 on this plate is termed a model for a3 Cloak. The construction is quite the same
as that of the Cape model, except that the radius A B= 6 units of the proportion measure instead of 4.
Farther C D=1 is taken for a small step, and the full line D E A is drawn and held on in the neck E, so
that in proportion the shoulder region gains greater fulness.
Fig. 4 is another cape model exactly constructed as fig. 2, only in this case is represented the method
of arranging the capes if one is to be made to appear as several, worn in northern Germany, and as at
53
present by the English coachmen. All the curves are drawn from the centre A; but the straight line B D
is drawn from the centre C as C D terminates in B, and so with the rest. ‘The distances E F, FG must
be equal to one another, but each is taken equal to 1 or 2 inches as may be chosen.
The next figure, 5, is a model for a full circular or Spanish Cloak. A B is in the the first place made
equal to the entire length required behind. The radius A C =8 units of the proportion measure; the
circle is drawn from the centre C; a perpendicular C D is erected upon C A, and halved in E; E Fis made
equal to 4 KD, and out of the centre F with the distance F B the semi-circle BGH is drawn. In K as
much as ¢ of an inch is hollowed, and in Las much 3 an inch is risen, the full line L DK A is drawn,
diverging a little from the circular, and the construction of the model for a Spanish Cloak is finished.
It will be apparent that the model is constructed in the half, and cut out of the double material, thus
making a complete circle. And although a complete circle is sufficient for the widest Cloak, still a model
can be constructed for one of two full circles. For this case see fig. 6. The radius needs only to be taken
equal to 2 units, equal A E; and a spiral to be drawn as D FG A, then DC will be the front, and A B
behind. ‘The second spiral drawn out from C coming home in B corresponds to the spiral DFG A,
which solves the problem. These spiral cloaks are seldom worn, but it is desirable to know how the
models for them are constructed.
There is sometimes worn a sort of cloak, which is termed the half cloak ; fig. 12 presents the model
of it. After the length A B behind is fixed, make the radius A C= 11 units; draw the circular line A D
EF; make DG=+; EF —1; then draw out of free hand EG A; make AI —14, draw 1 K and FK
perpendicular to each other in I and in F; draw KC, make DH —38, and draw by free hand IH E.
Now take I B and carry it all round on the curve I HI, so that H L=I1B, and FM—IB &c. &c. Hold
the neck G in both sides so much on that it quite fits to the collar part fig. 11.
If this half Cloak is to be made to wear over epaulettes then there must be a slight deviation in the
construction, which is seen in fig. 13. The proceeding is the same as before, until we make BC = A B,
then draw the two curves out of the points F, and N, taking out the curved wedge H AT; this is all the
difference which is required to be made.
q| 95.——There is a sort of sleeve Cloak worn in Russia, Northern Germany, and by the coachmen in
England. Figs. 7 and 8 present a model of it, which needs scarcely any explanation, as the proportion
numbers sufficiently define the whole of it. However it may be remarked that the part CD must be made
equal to AB. ‘The Cape model fig. 4 belongs to this one of a sleeve Cloak. ‘The sleeve part ABC D, &c.
belongs also to it, see fig. 9. In Russia a hood is added also to the sleeve Cloak, which is represented at
fig. 10. The hood is folded together at A B, seamed in BC, and the curve A D is put on in the neck, so
that the face, when the hood is over the head, comes in the line DC.
There is still another sleeve Cloak to be considered for which a model has to be constructed, and this
is only to be worn over epaulettes. The model for this Cloak is constructed exactly as that just described
in figs. 7 and 8; after drawing so far, vary as CD EF shows in the hind part fig. 7: and the forepart fig.
8 being drawn as usual, is varied also, as A BEF shows. By these means the epaulettes are kept free from
the seam which would wear off the gold, and the owner of them does not fancy copper ornaments on his shoul-
ders. On the hind part it will be seen that C D = 2 inches, and on the forepart A B= 23 inches. But this
narrowness of the shoulder part and the projection of the epaulette call for the greater quantity in the top
of the sleeve part; for these reasons it is needful to make A E of the sleeve part equal to G E of the hind
part, and then draw out of the point F fig. 9 the circular curve EG H, after which deviate slightly as the
full drawn line shows and this completes all that is required to be done.
The collar part fig. 11 belongs to either Cloak or Cape, and its length A B is from 10} to 11 inches
without seams; it is rare to make any collar part longer than this. The breadth A C is from 4 to 43
inches. The form is quite evident, as it is almost straight; sometimes it is constructed perfectly straight,
which however is not in such good taste, as it is more stiff looking on the figure.
55
BREECHES MODELS.
{| 96.——We have already spoken of models for servants’ garments in paragraph 44, pl. 17, where a
model for a coatee, a dress, and a single-breasted frock was given. Also in paragraph 85 reference was made
to a model of a garment to be worn over in general. This same model still farther serves for a servant's
great coat, only requiring the addition of a cape. This cape is to be seen in fig. 2, pl. 40.
In paragraph 95 a model for a sleeve cloak is treated of, serving in the same time the purpose of a
box coat model, as figs, 7 and 8, pl. 40 present. To this model there only needs to be added the cape model
fig. 4 on the same plate, 40, which makes the box coat complete.
Models for servants’ vests are sufficiently clear from those vest models treated of in plates 22 and 23 ;
only there is farther to be considered the sleeve part of a model for a servant’s vest, which is however the
same in form as that belonging to a stable jacket.
gq 97. A stable jacket model is produced if we first construct a servant’s plain frock model, accord-
ing to the instruction given in J 44, pl. 17; and afterwards, the model being thus obtained, in this case
from the measure. fig. 4, place it as represented in figs. 1, 2, and 3, pl. 41; then vary the model as the
variation on its parts sufficiently indicate.
First ; vary the hind part fig, 1, as the numbers marked upon it determine; make the length A B
equal to the measure taken. As through the variation the C F has become less than the original line D E,
and DE of the hind part equals A B of the forepart, fig. 2; it is therefore needful so much to shorten
A B, that CB of the forepart becomes equal to CF of the hind part ; after this draw the line CDE.
Farther, add in the F of the forepart a quantity equal to that presented by the numbers given, instead of
secting the side part and adding it in the side at G ; make HI of the forepart equal te H G of the hind
part. Lastly draw 1K, K F, and this finishes the forepart. Such a variation of the model*is evidently
correct if we bring to mind that the object is to construct a model which shall be more easy than that for
a frock, and besides this that the unyielding material of which the stable jacket is composed, and the
increased seams which are made in it, demand such an enlargement of the hind part, as well as the narrow-
ness in the shoulder of the forepart.
The sleeve part fig. 8 is by itself clear, as the variation at A BCD shows, and which answers not only
for this model but also for that of a servant's vest, whereas the original E F C G belongs to the Frock model.
That this variation of the sleeve part is correct becomes evident when it is considered that in the vest
model there is a half unit more taken out in the pectoral region, than is done in the case of a Frock model :
and farther that the shoulder is narrower in the deltoid and acromial regions in the case of a vest model
than in the same with a frock model ; precisely as with a stable jacket model. Hence the correctness in
the increase of the sleeve model. From this explanation the natural form of the sleeve part must have
become clear, and with it also evidence that if there were no Frock sleeve, still the sleeve part of a vest
model may be constructed so as to be easy, according to the size of the axillar line, (armhole) of the vest
model, in the same manner as intended in q 29, on constructing the sleeve part.
{| 98.——A Breeches model is not only different in style from a trousers model, but it is also in some
degree different in its ground construction. \ For this reason it is necessary to direct especial attention to
the size of the knee measure employed in the construction of a breeches model, besides those measures
which are used in the construction of a trousers model. The difference between taking the measure for a
breeches and trousers model will be remembered from paragraph 4, Mensuration. The proportion measure,
as the primary element employed in the construction of all models, and which is also used in the construction
of those now being considered, is presented at fig. 5, pl. 41.
56
The fig. 6 is a breeches model for a groom, as seen in the curved lines ABCD, DE,and EF. The
breeches model for a footman or dress servant is presented under the same figure, 6, not drawn curved as
B shows, but straight as the line A C indicates, and farther as indicated by the lines CG HF for the front
part. The hind part K answers for both models. The construction of these two is in the ground work
evidently one and the same, and there is only the small difference to be observed in the style of the knee.
The manner of constructing breeches models, so far as relates to the upper part, is the same as that
which is instructed in the paragraphs on constructing models for trousers, with the exception only that in
the model here given for breeches, the stride is much larger, which will be sufficiently distinct by a com-
parison. The greatest difference between these models lies therein, that the knee part C (see fig. 6, pl. 41)
much recedes from the normal point M, whereas at this point M, the knee part of a trousers model remains.
To define the position of the knee part in C, make from the point L out M L=3, and also IL N=+} of the
size of the knee measure, taken tight, and M N=? size of knee. Halve M Lin C; draw the straight
line A C and also the straight line O N ; now draw the curved line ABCGD, most curved in G, so that
G D falls perpendicularly in D upon DE. Farther let K I recede sufficiently according to the size of the
knee, and also according to the size below the knee. The length O E and A D of the model is made equal
to the length of the measures taken from the figure, plus 1 or 3 inch.
99.——The model fig. 7, pl. 41 presents that for a gentleman’s breeches. The difference between
this and the former model is first in the stride, second in the position of the knee part, which will by com-
paring them become evident. The position of the knee part is determined if M Lis first halved in C and
afterwards MC halved in D, which is the required point, and fixes the position of the knee part.
By comparing the portions of the knee parts in these two models, figs. 6 and 7, we see that D does
not so far recede from M in the one model as the point C recedes from M in the other. And farther, as
the knee part takes its position according to the position of these points, there is a difference in the form of
the model springing out of the position of its parts. This difference arises in consequence of there being
more length in fig. 6, and less in fig. 7, produced in the inside of the leg line, suitable to the purpose of the
model required, the one being for a servant’s and the other for a gentlemen’s garment, different in wear and
style. It is from the foregoing clear that the original points M and N are found from the centre L out, as
ML=LN;; it is to be understood that N is equal to half of the whole size of the knee. ‘This same is
true of the corresponding points in figs. 8 and 9.
The model under fig. 8 is for a leather breeches. There is nothing in the ground work different from
the preceding models, but only a difference in style, as is seen by comparing them with each other, except
that the hind part in the stride is } a unit of the proportion measure larger than the same in any of the
foregoing models. ‘The difference in style is chiefly in the leg at the knee part, as well as that the whole
model is rather large to the measure taken from the figure, on account of the shrinking quality of the
leather. Hence, although the ground points M and N are fixed from the centre L out, according to a
tight measure from the figure, still the whole size round the knee is, as seen on the model, one good inch
larger than twice MN. As B D is alone equal to MN, and BA= 1 full inch; therefore A D+ DB> 2
MN, as much as AB, In fact the model is that of a groom’s breeches, rather long and wide (large) with
the exception that the style does not allow the side seam to lie so far towards the front of the knee as it is
preferred in a groom’s breeches style. In conclusion it is needful to remind that in a breeches model the
placing of the measure for the leg length must be in a slanting direction from D to A. See fig. 6.
q 100. The model fig. 9, plate 41 is that for a servant's trousers, wherein a little deviation is made
from the usual mode of constructing models for trousers. This is done merely to show that the mode of
fixing the position of the knee part may also be employed in the construction of a trousers model just as
well as in the construction of a breeches model. ‘The whole of the construction of this model is evident
from a mere view of it, as the student is now already acquainted with the construction of models for trousers
and breeches, and for that reason it is not necessary to make any farther observation on the matter. But
in comparing the position of the knee part in this model with that of the knee part in those for breeches,
we see that it is in the present figure, 9, situated in the normal point M, whereas the knee part in breeches
models recedes in a greater or lesser degree from this point, M. This is accounted for as follows; namely,
57
the breeches are fastened tight on the knee of the figure, but not so the trousers, hence the former need
greater length from the knee in the leg upwards, than the trousers require in this direction ; then, to bring
too much length in this part would cause the trousers here to be too full, which does not belong to their
style, whereas in a breeches the style does demand such fulness.
The line AC B in fig. 9 does not belong to the model just described, but it is drawn if a sailor’s
trousers are meant to be constructed. In this case C M—=1 unit is added to LM. At the side line at N
the two models in this figure (9) are nearly the same, having only the exception that the model for the
sailor’s is the same in the hind and forepart, as.shown at D E; when by the servant’s the front part is less
than the hind part, as D F G presents.
A second model for a riding trousers is presented under fig. 10, which is different in style from the
former kind given for that purpose. The normal points in this model, N, C, A, P, K, Q, as well as the
pelvial axis G H, and the leg axis J K, are all the same as they have constantly been in the preceding
trousers models. But here is added A B—=1} to F A, and the curves B P and EP drawn; for this
addition again C D = 13 is taken from CN, and the curve DF P is drawn. The normal points C and A
have lost their positions, which causes the shortening of the curve B P, and the lengthening of the curve
DFP. Naturally the point N retains its position, because NT=UN. The undress side is made less
by 3 unit= B E than the dress side.
The leg part of this model is very straight, as the point S shows, which lies just on the outside of the
line of direction RQ. The normal points M and N of the size of the knee are here only put for the
purpose of making it visible how much more straight the lme PSO is than those corresponding ones in
the other trousers model. KO= 38} is the same quantity as that in former models. As K'T=QK,
QT is equal to the width of the heel.
GAITER MODELS.
gq 101. The measure for a gaiter model is taken as follows :—First, is the length A B (see fig. 1,
pl. 42); the second measure to be ascertained is the top size of the leg in the direction A; after this, the
ankle size GC is taken ; farther the size of the instep D C; then the measure of the projection DK; and
lastly, the height of the instep C B, and E F the front size of the foot.
The line GC runs upon the ankle on the inner side of the foot, where in taking the measure it must
be placed. This measure, if it is used in the construction of the model, must be prepared as A B equal to
the entire ankle size presented under fig. 2, namely, AB is divided into 9 parts, and the part CB
taken equal to one unit, by which the gaiter model is constructed. Although the models can be constructed
by the prepared measure from the ankle, still the proportion measure A B, fig. 3, is most frequently taken
for the purpose. As the latter measure is ready at hand, it answers just as well, provided the model is
not of a very small or of a very large size; as, for instance, when meant for a boy, or for a very Herculean
form of man ; in these extreme cases, the prepared ankle measure is the best by which to construct, because
in neither of the two cases does the size of the ankle keep in a fixed ratio with the breast (thoracial)
circumference. Here, in this measure, fig. 2, the units are equal to those of the measure fig. 8; and so it
would be in all cases of the middle forms (proportionate forms of the human figure) of whatever size they
may otherwise be.
The model, fig. 4, is that of a groom’s gaiter, to which belongs the tongue part, fig. 5. The mode of
constructing this model needs not any explanation, as the co-ordinates are all under right angles,
accompanied by the proportion numbers. However it may be remarked, that AB is equal to the length
of the measure taken from the length of the leg. It may be farther observed, that the instep measure is
applied from the point C out towards A, and it most frequently happens that this measure is equal to C A ;
whether it is shorter or longer, then a mark is made in the region of A, and so much taken off or added
58
on to the model accordingly. In the same manner is applied the top size of the measure from E, out
towards B, and taken off or added in B, according as indicated by the measure. From the marked point
out, now A, the projection measure of the foot is placed, and led towards D, which will indicate if the
tongue part projects sufficiently in the front upon the foot. That the line A B of the tongue is inserted in
the line D F of the gaiter part, is quite evident without further explanation. It is equally clear also,
that a second part EB AG, must be copied from the gaiter part, whereon the buttons are put as the
diminutive circles indicate.
From this explanation it is already evident how we must proceed with the rest of the gaiter models
presented on this plate. But it may be added also to what style each model belongs. ‘The fig. 4, just
described, is that of an English servant's style; whereas the other, fig. 6, pl. 42, is that of a German
servant's. To the latter belongs the tongue, fig. 7; it is folded together in A B, and lies double, stretched
out in the curve A B, at which part it is inserted in the opening A B of the fig. 6.
The small model, fig. 8, is termed the short sporting style, and the gaiter made of leather. It is con-
structed by the small scale drawn beneath it. The tongue CAB is at a right angle with A; and as
BC is one quarter of a circle, BD = DC; therefore if C is folded over to B, then A D makes the middle
of the tongue upon the foot.
The model fig. 9, pl. 42, is that of a French style worn by gentlemen, to which belongs the tongue
part, fig. 10. This tongue has a seam in AB, running through the middle on the front of the foot. It is
inserted at C D in the opening of the gaiter part A B, fig. 9. The length AB of the tongue, fig. 10, is not
meant to be fixed, but optional, as it can be made of a greater or less length at pleasure.
There is another style of model presented under fig. 11, pl. 42, which is termed the shoemaker’s style,
very generally worn by gentlemen. ‘The small flap A B falls over from the middle of the foot, up in front
to the outside of it, and is blind buttoned. This gaiter is laced on the inside of the leg; or as now gutta
percha is in use, instead of lacing, a strong band of that material is preferred.
There is still another gaiter model given under fig. 12, pl. 42, termed a ladies’ style of gaiter, and
indeed it is the only one in which ladies have them made. It has a peculiarity of form, which the model
here shows, and is the only one corresponding to the form of a lady’s foot. This form has a seam in the
front on the foot in A B, and is laced on the inside of the foot,C D. Here the tongue and ankle part are
constructed in one. It will be immediately seen that the model presents to view only the half, the opposite
half being equal in size and form.
Having ended with the gaiter models, there is still another object to consider before leaving this plate,
namely, the model, fig. 18, of a long legging, going up to the trunk of the figure. The short legging does
not extend higher than the knee, and is there constructed as a groom’s gaiter model, without a tongue,
buttoned up straight on the outside of the leg.
It may be mentioned, in conclusion, that the models correspond to the part of the leg presented under
fig. 1, with the exception of the one at fig. 8, which is of a smaller size than the rest of the models. The
line AB in fig. 9 may very easily be perceived to be equal to the length of the curve CB in fig. 1. The
student may consider whether it would not be advantageous to study the proportions of the real figure in
nature, and those also of pieces of art; and after this, by comparing the proportions with each other,
endeavour to find those parts in which the real figure is equal to the figure produced by art, and those also
wherein they differ. It may be agreeable to know such, as almost directly belonging to the part upon
constructing models for draping the human figure; and further, such knowledge may be serviceable in
designing a beautiful costume to the figure. Even should this not be considered as needful, then certainly
it is so to draw some part of the human figure, to make perfectly distinct that part of the model for its
drapery, in a manner similar to that which here presents the foot and leg together with the gaiter models.
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ASP UP IN) Delle
TO
THE MATHEMATICAL PMSTRUCTION
IN
Constructing Wlodels
DRAPING THE HUMAN FIGURE,
HENRY WAMPEN, Pa. D.
Professor of Aathemativs,
Tus Appendix is not designed to be, as the work itself is which it follows, systematically arranged in
the matter it contains, which was most necessarily required in a solid and primary instruction ; but the
ensuing numbers are meant to comprise articles promiscuously brought together, and each article to present
the newest, best, and most desirable information which can possibly be obtained in art and science, as to
beauty and truth in form, so far as directly connected with draping the human figure, or as kindred to it.
It is naturally to be expected that the reader of this part of the work, in order properly to understand and.
appreciate the contents, will have previously made himself well acquainted with the foregoing volume of
systematical instruction. As this Appendix, in the same time that it will present many new designs, gives
ample and critical explanations, it will be to the advanced and proficient, in all probability, as interesting
as it will be useful.
q 1. Ratios which come to our perception so that they not only please the eye, but in the same
time enter our conception and please the mind as well, namely, when belonging to a determined and truly
recognised species, they are termed beautiful, and the esthetical principle is revealed in them. Now, as
the human figure is a species of the choicest form, revealing such a principle in the ratios of its integral
(geometrical) parts; and further, that drapery connected with that figure must not destroy, but rather
show to advantage this form; therefore the ratios of the parts are not less choice, and to be well understood
to be made perfectly and correctly, So, for instance, a style of garment which is termed the jacket style,
and which has become very generally liked, has its beauty in that, that its parts have such ratios to each
other as to correspond to the figure, showing it in the same time, so that not one of its points (geometrical
points) ave hidden. And although the skirt of a garment is so indifferently spoken and thought of by the
unreflecting on the beautiful, there is much in it to be observed, if the true and the beautiful shall be
exemplified in a becomingness of the dress (garment) to the figure, If, then, for instance, we bring first
in the mind certain proportions of the figure, namely,
164 the normal length of the waist, which is, if the figure is in every respect normal, the natural
length of the waist in the same time ;
10 the height of the pelvis ;
114 the length of the thigh, from the pelvis to the middle of the patella.
38 units.
Now, taking the entire length of the garment as 30 units composed out of parts, then as to lengths in
connexion with the parts of the figure, we have the formula for a jacket style ;
30= 163+ 10+ 33, rather longer than the seat, but shorter than to cover the half thigh.
33=164+10-+ 63. This is longer than covering the half thigh, and becoming for a morning
dress.
386=163+10+ 9%. This is becoming for a frock.
87=163+10+101, This is suitable for an evening dress.
The greatest number, 37, is here the entire length of the evening dress, and in the real figure we had
38 units to the middle of the patella; and so that the dress does not conceal a point of the figure, or
destroy the ratio of its parts, the skirt of the garment falls short by one inch of reaching to the middle of
the patella. Here is a certain law: the jacket style is rather longer than to cover the seat ; the morning
dress rather more than the half thigh ; the frock approaches nearer to the knee, but does not cover the
thigh so far as in the case of the evening dress, and this last still does not cover the middle of the knee.
Such is the law, that even over garments of any style going to the figure, as great coats, &c., if covering
4
more than the middle of the patella, would destroy the ratio conveying the beautiful, and which must be
adopted in any other class of garments to bring out the beautiful as in this. However, we will confine
ourselves now to the style of garment entered upon, and define the ratios still more distinctly in another
form ; namely, if we take the normal waist length as a measure, and put it in ratio formula, then
163 : 163 — 3, is jacket.
163: 163—0, morning dress.
163: 164+ 3, frock.
163 : 164 + 4 or 33, evening dress.
Presented in another form, it is this :—
30 = 2 164 — 3, jacket.
33 = 2: 164— 0, morning dress.
386 = 2 - 163 + 3, frock.
372: 163+ 4 or 33, evening dress.
In fig. 1, Pl. 1, Appendix, is the model of the jacket in AD=2-+AB—CD, which means the
length is twice the normal length of the waist (163) taking off 3; and in the same fig. 1, AC=2:AB—0,
that is, to take off nothing for a morning dress.
It is easy in application to put the back with its normal waist length AB upon BC, and deduct
from, or add to BC to determine the skirt length. The style length of the waist does not affect the
proceeding just described of determining the entire length of the garment; as whatever A B in the style
length increases, the skirt length B D in B E decreases, so that it always stands i
AD=AB+ BE+BD—BE;
which means A D equals always A H+ ED, whatever the style length BE may be. But it is especially
to be observed that whenever the figure stands flat in the back, deviating from the normal position, the
style length BE must be made ? of an inch shorter than otherwise, and such must be observed also in the
entire length of the skirt, especially behind. The reverse is the case if the figure is round backed,
deviating in the opposite from its normal position.
Having taken here the normal length of the waist as the measure by which the skirt length is
defined; and as the normal length of the waist is in the three different kinds of form in the human figure
of different lengths, and that in every model the normal length of the waist is always found before farther
proceeding in constructing the model, it is more general and useful in practical application to say :
The skirt length equals always the normal length of the waist
minus 3
plus 3
4 or 34
2
q 2. As the style of a garment in the direction of the shoulder is very fluctuating, and that by
changing one style of form of garment into another, the beautiful may be easily destroyed in the form of the
figure, this part of the model calls for equal attention. At present a full or heavy form in dress round the
shoulder is preferred, as the hind part of the model fig. 1 clearly presents, and that especially in the
jacket style of garment. For this reason then the increments are made in those co-ordinates which will
affect the desired fulness in this locality ; namely, instead of 3 the A F = 35, instead of 72 the H G= 8},
and instead of 7 the H K = 75; also the breadth of the style in the hind part is instead of 7 increased as
much as a half or even upwards. But this would not suffice to produce the effect desired if the forepart
of the model were not brought in consideration. We must first then bring to remembrance that a great
fulness in a garment in the shoulder of the figure causes that garment to fall and so destroys the correct
proportions of the figure by adding fulness of material where it is not desired. For that reason a
mechanical contrivance is necessary in the construction of the model in the forepart to counteract
the destructive effect and maintain instead the correctness of the proportion by keeping the fulness
in its appropriate place round the shoulder and with that retaining the beautiful in the figure. This will
5
be effected by making, fig. 2, the A B==4 and placing the line AC in the position BD. In this manner
there is a decrease in D produced corresponding to the increase in the hindpart, and in HK; namely
to effect a power in holding the garment on to the figure. In respect to the style and correctness of the
size of the waist in the front suitable to this style of garment in the looseness round the shoulder, there
must be added, as F K shows, fully one inch to the given size of the figure.
It is from the foregoing explanation perfectly clear that the skirt, fig. 3, belongs to the jacket,
and fig. 4 to the morning dress. They are full and forward in the front so as to be in keeping with
the other parts of the model.
The sleeve part of the model fig. 5, and the proportion measure fig. 6, need no further explanation
than that the former is as presented in keeping with the other parts of the model.
There is a second style of garment presented in the model fig. 7, and to which also the measure fig. 6
and the parts fig. 1 and fig. 5 belong. This model fig. 7 is exactly treated in the shoulder of the
forepart as has been described in fig. 2, and is therefore much the same in style, only having the
exceptions of a little difference in the front, and that there must be no section in FG. But in this
model it must be particularly observed that the scapula line HI must run in a straight line with IK, and
be made so that H I==5, instead of 44; and further that IN LM must be taken out in such a manner
that the sections touch the points N and M in the pointed line, in the half from the point of the fovea
axilaris I and the iliac point. After the side part is properly closed in the points M and N with the
forepart, the scapula point H with the side part HI will take the same position as the corresponding point
and side part in fig. 2. Still in the entire a different style is produced in the model fig. 7 to that of fig. 2,
and therefore the garment produced after that model will be more different in style (but both beautiful)
than will at first appear. But in both attention must be equally given to the length of the skirt.
In this same style of the shoulder in the hind part and fulness of skirt are also the over coat models
constructed; with the exception that the length of the skirt reaches nearly to the knee or to the middle of
the knee (patella), but not longer if beauty shall be preserved in the figure. It is naturally evident that a
model for a great coat must be in other respects exactly constructed by the rule for constructing models for
over garments going to the figure as laid down in the previous work.
3. There is a garment worn under the name of Spanish sleeve cloak, a modern substitute for
the regular old Spanish cloak, see the model fig. 8. This is much liked, but garments of such a character
being of necessity ample in their quantity of material can never come into general adoption in a country
where the climate is heavy and oppressive, and the occupation of the people unsuited to it. As to the
suitability in this garment it must well cover the knee, otherwise it will not be becoming to the figure, for
it must be borne in mind that that class of drapery which has in its form an approach to the character of
cloak, from its fulness, will never be becoming unless the skirt is rather long. In the real clothing of the
human figure it is very difficult if the beautiful shall be maintained to combine the conventional with
the antique; the necessary utility of the dress sets the artist a boundary. In painting and sculpture there
is more freedom and play of imagination, and as a case in point we may instance the statue of Sir R. Peel
at Tamworth, as an extremely happy and beautiful union of the conventional with the antique. In
respect to the drapery the statue is a modern classic.
The construction of the model (fig. 8.) for the sleeve cloak is so simple, and as the proportion numbers
accompany the co-ordinates, it needs no further explanation ; still it may be said that a b-- bc= 10 inches,
and ec — 1, is meant for the step folding over in fastening. The triangle-like wedge is folded together
and makes the small piece in b. The square formed wedge is to go in A between the sleeve and skirt.
The collar is 10 inches long. The measure placed beneath the model is taken so small merely for
convenience ; the scale is 1 unit equal to § of an inch.
The next article is simply one of utility, and especially one of comfort. It is the case that females of
every rank and station are often anxious to possess a model, (if not scientifically constructed a pattern) of a
pair of comfortably fitting drawers. This is then complied with willingly, as there is not the slightest
6
difficulty in constructing the model; for as the comfortableness depends on the correctness of the drawers,
the correctness of the model depends on the proportions of the figure being correctly implied in its
construction. Now as the measure of the size of the figure can be given, and the proportions are
previously known, it is only needful to mention that fig. 9 is the given measure as the foregoing work of
instruction has shown; namely A B is the breast measure, and A a is the bosom difference. Suppose the
size of the breast measure is 15 inches, but known always as 16 units; the size of the waist is equal to
12 inches, in this instance too B. Further it is known from the proportions of the figure that the
circumference of the pelvial section is equal to 19 units; and then E D+ DC must be made equal to
19 units + 2 units without seam, which must be allowed for (see fig. 10). This model may also be made
use of for a pair of lady’s riding trousers ; if so, then the seat part of the model must be placed according
to FG; make K F =—I G= 2 units, and draw the lines F C and G H instead of HI and KC. The sizes
LM; ‘OP and the lengths H M; HO of the parts for the leg may be made quite at liberty and convenience.
But this model is constructed for a proportionate figure, and the student will understand from the
construction of trousers models for a male form how to proceed with those for other female forms also.
Although it is for merely a proportionate form, the model may be used for the broad and slender female
forms, if the leg and thigh is shortened in the one case and lengthened in the other, and so done that the
parts under the proportion numbers are shortened and lengthened in due proportion. The construction of
the model is by itself evident as the proportion numbers are given on the co-ordinates of its parts.
q 5. In concluding this article we may glance at the question—whether in a college of design for
industrial purposes the human figure should be studied or not? not is concluded by some who confine their
mental eye to too small a sphere when they think or speak so. But if we consider that the decorative art,
taken in its most extended sphere, in industrial parts, is to be cultivated in such an establishment ; and
that first the human figure gives us the choicest of forms, containing all the primary elements as to form
for design; secondly, that the art of draping the real figure artistically is impossible without the study of
the human figure; and further, that this art is certainly not less an industrial branch than any branch
of the decorative arts, and that such art is even by many put under the head of decoration ; then indeed it
appears that the idea of excluding the study of the human figure from the school of design in question,
must have been uttered under a great error.
To sink in nought all those members of the community who are engaged in the art of draping the real
figure, is not possible, and to exclude them from such an institution would be unjust. This art does exist
now as a scientific, cultivated and developed art, and it has existed, though until lately, in a rather
primitive state before many others. For the reason then that the commencement is made to blend it with
science, it must and will naturally keep in the path of progress with other arts, and there will always be
found minds sufficiently enlightened to let it not remain behind. Where then, to get rid of the human
figure from an industrial college of design shall the art of draping the real figure have its place, as it
cannot be separated from the study of the human figure, and can neither be taken away from under the
head of industrial arts, even if we would argue it away from the head of Decorative Arts ?
By way of comparison, as the decorative art is more than mere ornament, so the art of draping the
real figure is more than mere decoration ; just so as the fine arts are again more than decoration, ornament
and draping the human figure only, although artistically done. But however much we may endeavour
to sever and exclude one art from another there is for reflecting minds a brilliant thread which through
all is continually striving to become visible in nature and art. This thread is the esthetical principle
or the beautiful. It is not an ornament, it is not a decoration, neither is it a mere utility; but it
is the ratio which so defines the parts of simplicity and fitness in variety and contrast in recognised
species iz. their kinds of form, as to arrest and hold fast our nobler senses, and force us to admiration.
And this universal chain being established in nature, in the subject to perceive, and in the object to
convey will never allow that man should be severed from his fellow man wherever the cultivation
of taste and the beautiful in any art whatever is the subject of consideration, Far more may be
said in favour of the art of draping the real figure, in giving it its right place, and this in respect
to its utility in the fine arts, of which it would then become a part. But as utility is a prominent
feature in it, also in the decorative arts, and that in the character of its utility it falls to the head
of industrial arts, we will leave it here, satisfied to perfect it under this head in beauty and truth,
the common chain of all arts.
7
If certain branches of the industrial arts shall be excluded from such a college, which, as its
term specifies, includes all industrial branches, why not more correctly narrow the sphere of the
term and suit it to one implying what arts shall be cultivated and instructed. Undoubtedly
names for it are not deficient, and curtailing the base of instruction, excluding, and specialising certain
men and their arts to isolation the time does not desire, as a free and unlimited communication of the
interchange of thought, to one great end, advancement and perfection are striven for. But what
otherwise can be the result of isolation and exclusion than to contract the mind, produce self-conceit,
over-rate one’s own cherished opinion and sneer at others however profoundly learned? So for instance
the instruction of youth is often confined under the term of religious instruction to merely prayer and
worshipping, while the material base, science, for useful life and self-maintenance is left for nothing, as if
the true, the good, and the beautiful were not revealed in art and science, and could not raise the
industrial student by the very nature of his studies up to a moral being in real action. Further, private
instruction, if the professor is a highly learned man, and skilful in conveying information to his pupil
is perhaps the best and most advantageous; because, all attention in the course of instruction can be more
fully and precisely bestowed on the pupil; and still such is not free from isolation and exclusion. In this
mode, although but a few in number can receive a good instruction, it is attended by one great benefit ;
that is, private instruction is directly communicated, inasmuch as learned and energetic men carry
their methods and discoveries in art and science from one country to another. Through this individual
minds become awakened and expanded, though not in great numbers, long before such could be effected
from the chair of a professor in a college. Colleges do the same for a great number which private
instruction does for a small number. Again just so as an isolated college for especial art and science is
based upon a wider communication of instruction than a private source, even is it narrow and exclusive in
comparison to an university, or a school of colleges for special branches of learning, where not a single
branch in any art or science is excluded, and all instructors and instructed stand in communication.
Here is neither isolation nor exclusion, the mental lamp burns with the brightness of the meridian sun.
Opposite to this where colleges and the people stand exclusive and detached, how narrow mindedly scoffs one
at the other; from mere ignorance and short-sightedness they are unable to value each others’ branch of
learning, and with this unable to respect each other. This is lamentably worse between the scientific and
practical classes of men, and all arising from the same source.
There is another topic allied so closely to the question under consideration, that it cannot be fairly
excluded here, namely, the well-known recommendation, “ Teach you one another,” which means, have
no scientific men professionally to instruct in the science of the arts, especially not in the industrial arts.
“Teach you one another,” was the reiterated cry. Certainly, this is the mode suitable to a rude state of
society, and where an art is in a most primitive and undeveloped condition, as at present the shoe and
bootmaking art mostly is, where theory has not developed itself from practice, and the combination of
science with art is not yet thought of; but in a more advanced state of society, where art and science are
developed, and each branch and its division are under the highest cultivation, assisting one another to the
end of perfection, then, indeed, such a method leads to destruction; because it fetters the development of
art and science, making a bungle of the practice, as the practical man has not time to study, to theorise,
and practise well, all in the same period. In spite of this evidence, “ Teach you one another” has been
persistingly recommended to practical men, but done so with the view that such teaching should be gene-
rously given, without pecuniary reward; because, they say, you are persons all of the same rank, as prac-
ticians in an industrial art, though you differ as masters and men. And really many practical men in trade
caught this hint; as a sufficient number of them have been found to assume, with a very kind and benevo-
lent air, the mastership of an instruction in the scientific theory of their respective arts, though, in fact,
they remain as teachers, and never rise to be instructors. As to the pecuniary reward, and benevolence of
their unproficient teaching, higher prices are demanded and paid than if the pupil were under the private
instruction of a scientific man who is an instructor by profession. And further, with reluctance it is said,
as they find that copper will be taken for gold, and that they can allure their brethren so well and so
profitably, the direction to teach one another has been made a principle merely for gain, and a road to
confusion and obscurity in those arts in which this principle is mostly carried out. This is the true cause
that science is in reality so much excluded from the industrial arts, and its light not admitted among the
great body of practical men, and therefore it shines only in the minds of a few noble individuals of them.
8
With this neglect of science their entire body has sunk, though the aim is their elevation. They have
reversed the noble sentence of Goethe—
“ Noch etwas licht lass mir herein ;”
(* Some more light let in for me ;”) and turned it into “ Let in but barely light for me,” for others may see
that beam of light if it flows too broadly. It is not an excuse for a practical man to make, that time will
not allow him to instruct scientifically,—as a scientific man does, that he cannot give all his time to his
pupils,—and that he must look after his trade and customers, which is far more profitable than teaching.
Most certainly we agree with him in this, as it is the real truth. But he has no necessity to combine the
profession of an instructor with the carrying on of a trade at the same time, in the end (as is invariably the
case) becoming a bungler in both. Whoever designs to be an instructor, let him give up his trade, and
study in the science of the art of which he will become a professor, and then be one, with all his mind and
vigour, to promote and not retard the great end, perfection.
Look over every branch of industrial arts, in fact, all arts that have ever been left in all their parts to
the accomplishment of one individual. Never was progress here. It is only after a scientific theory of an
art has been cultivated, and professionally instructed by a scientific man, that the community has felt the
benefit of it, in the introduction of superior articles produced by the practical man.
Some practical men, of inferior standing, will even assure us they teach equally well the same theory
and science, or system, as the scientific man. To this we say,—no, you give to your pupils the mere
soulless body of that which the scientific man gives. The spirit, that very vital principle which must
animate the pupil, and make him a composer and designer from his own clear conception of the scientific
principle of his art, you fail to give; and, what is worse, you make him a mere blind follower and copyist.
This self-thinking spirit is the very thing which the pupil stands in need of most,—more than merely to
follow where he is led. Still such a mistaken proceeding is in some degree pardonable, as such may be
partly done in ignorance; but, worse than this, the pupil is deceived by being told that he shall learn the
practice in the time that he is learning the scientific theory of the art. In the meanwhile, you know that
nobody can be taught practice, nor learn it, as it is but the practical theory of an art, not the practice,
which can be said to be learned; and further, a man can only gain practical facility, or become a prac-
tician, through his own application and personal practice in an establishment, if he, previous to this, has
been made proficient in the scientific theory of his art, which in truth you do not, will not, and cannot do.
If you, then, confine yourself to that part, and receive a commencer into your establishment, allowing him
to practise in it, and then take a reward for the benefit given to him, we would say you did correctly and
what ought to be done, as some really of the higher classes of practical men do, leaving the instruction in
the scientific theory of the art to men whose profession it is, with whom they are always in good under-
standing, who give up all exclusion and isolation, all retardation, and between whom exists a mutual feeling
of respect; doing this we shall not fail to gain the great end of perfection in every art. Let us never forget
Dr, Whewell’s golden saying, “ We are all fellow-students in the great Industrial University.”
ITALIAN CAPE MODEL.
5..—There has perhaps never been a loose over garment introduced into England so much liked
by gentlemen as the Italian Cape, a model of which is presented under fig. 1, Pl. 2, App.: and most
true it is, that this form of garment on the figure is really elegant. It appears to have a sleeve, but in
reality it has none, and what seems to be one is a mere indication of it, accomplished by a suitable
section in BK LM, as defined by M, by L, K and B. Its length behind is in GI to the middle of the
thigh, and of a corresponding length in the front F. But on the side in the part C A B defining the
width of the sleeve, the model presents it DA = 4 units shorter than the primitive circle HCD BF
defines; so that it shall not be too long upon the hand.
The construction of this model is in its original and first proceeding as given in paragraph 93 of the
work under fig. 2, Pl. 40, and therefore it is only needful to mention here the difference between this
model and the other described in that paragraph. After the circle EC DB F is drawn, erect in the centre
Ha vertical line HD; make OP = 53; PQ—1, and draw OQ in continuation of F; erect in Pa
perpendicular PK —7 units; make BR—=123. After this erect in G a perpendicular GM, and
continue H§ until it meets GM in M. Draw the curve KLM and sect the model in the line BE LM;
hold the sleeve part T on full in the shoulder part L, which will shorten K B, but in order that B meets
U make UB = 1, and draw the curve UR out by free hand. Make farther DC —DB. After the line
BAC is drawn out by free hand make EI 2 umits, and draw the curve CI out by free hand
harmoniously. The lappel in the front may be made at liberty, so broad as to suit a single or double-
breasted style as may be required.
The collar part, fig. 2, of this model, will be a little broader than it is usually made for other
garments, but which the proportion numbers accompanying it sufficiently indicate.
The proportion measure beneath, fig. 3, is the same as that already understood. But it may not be
superfluous to repeat that such must be considered as 1 unit larger than that by which the frock model is
constructed for a figure of the same size; namely, if AB were for a frock in size equal 18 inches, then
for a loose over garment model A B must be equal to 19 inches.
MENTAL GEOMETRY IN FINE ARTS.
q 6.——IEf there is an art generally useful and practicable it is that of free hand outline drawing ;
some term it drawing by the eye; but more correctly it ought to be termed free hand drawing by eye
measurement. As a fine art unfettered free hand drawing in presenting forms of objects despises all
measures and measuring with instruments; and this might be admitted were the object so small that the
eye would be able to measure the entire which shall be presented, and if size need not to be defined,
though in presenting objects in rough outline, there are allowed many mechanical contrivances of one and
another description. Dismissing the larger objects with all that belong to them from the mind, and holding
fast only the’smaller whose forms the eye can clearly and distinctly measure, we still could not present a single
object without a mental geometry recognised by measuring with the eye. As, for instance, the artist would
draw by free hand a rose leaf; at once from recollection or from present measurement by the eye, he sees men-
tally the ratio of the leaf in the breadth to its length, namely, (fig. 4) that A B in relation to C D is nearly as
broad as itis long. If the artist would present a lily leaf his mind immediately recognises the ratio of its
breadth to its length, and he draws the leaf by guiding the hand with the mind to the breadth AB in
relation to the length CD (fig. 5). This perception of ratio, length to breadth, length to circumference
10
and position of parts or of parts to one another, measured by the eye and carried by the mind is the
mental geometry in fine art, and worthy to be cultivated. Without such a mental geometry the artist
would not be able to distinguish the form and position of one object from another, not the rose leaf from
the lily leaf, still less represent it again through his mind, which he must do, if he will present objects
artistically, and deserve the name of artist. Without a mental geometry the artist could still less decide
between forms of one and the same species; as, for instance, there are on a rose-tree many leaves, some
differing in form as in breadth to length; so by the lily. And there are other objects in their own species
differing in kind of form expressed in ratio, as in height to circumference or breadth; as, for instance,
in forms in the species of man; forms in the species of dogs, horses, &c. &c. Mental geometry in the
fine arts appears then to be the knowledge of all the forms of objects in space, carried by the measuring
of the eye into the mind, and the distinguishing of kinds of forms in one and the same species is a
knowledge which the mind receives of the difference of their ratios of dimension, and the position of the
parts to one another. From our knowledge of the form and position of an object in space (mental
geometry) we may be assisted, if carried in our recollection in free hand drawing, to present objects in
correct outline; and as long as the idea is left free and unfettered, as to what shall be presented belonging
purely to the real of fine art, mental geometry is sufficient. But if free hand drawing is applied to an
industrial art of which the base is science, and the parts of it fine art, undefined or mental geometry is not
sufficient for the scientific portion, different ratios expressed by proportion numbers being required.
Still going too far the other way, to demand a drawing of those parts by geometrical lines, which can be
done better by free hand drawing with the assistance of mental geometry, would be to excess and there-
fore incorrect. Each part will only harmonise with what is homogeneous to it, for that reason nothing
must infringe upon the other rights, though the parts themselves may be happily joined.
STAGES OF MODELLING FOR DRAPING THE REAL FIGURE.
q 7 (a). There has been a time when the art of presenting a model for draping the
real figure consisted in doing it by free hand drawing. The artist though took a_ scanty
measure from the length of the garment and the length and breadth of the figure, and took
the form of the figure, more important to him, in the mind by measuring it with the eye. This
mental geometry of the figure by great exercise he fixed so truly in his recollection, that whenever he
placed the measure on a plane or sheet of paper, the form of the figure in dimension and position was the
unfailing result, in case however it was proportionate. Such a free hand drawing may be presented under
fig. 6, Pl. 2, App.: the geometry of it is presented under fig. 7, where the line A B gives the length of the
entire model, and the length A C only a part, namely, the length of the leg. The other lines presented
under D, E, F, denote the breadth, and the position in which they are placed denotes the form of position
in the parts of the model. The points in the ends of these lines considered in relation to each other, are
the geometrical points which the mind, assisted by the eye, holds fast to aid the hand in presenting a form
by free hand drawing. But the various forms of the human figure and the changes of style in different
countries, and variety of costumes in dress, made it difficult to escape committing faults when the fit and
suitableness of the garment should not be neglected. It was therefore necessary that the mind should be
exercised to find a more definite and sure connection between the model and the figure ; and after it was
found that the half circumference of the pelvis of the figure, divided into eighteen parts, termed units, and
that with thirteen of these units and the height of the pelvis, a right angle might be constructed, which
must be unvaried and fixed in every model for trousers, the second step was gained towards greater power
in drawing and constructing models with more certainty than in free hand drawing alone, and a geometrical
drawing was thus originated.
(b) The figs. 8, 9, and 10 present three small models which may illustrate the description just given.
They may easily be constructed by any proportion measure, if it is equal to the half size of the pelvial
circumference. The right angled parallelograms ABCD and EBGF are always constant quantities, and,
as a diameter ina circle, remain unchanged whatever variation may go on with the model referred to them.
So is A B— 18 and D B equal to the height of pelvis, always combined under right angles, an unchanged
parallelogram; and EB=9, and BG equal height of pelvis plus length of leg combined under a
right angle, is a second right angled parallelogram unchanged. This is the place to observe that the centre
il
of the heel H in the model does not in every case lie equally distant from the point F of the parallelogram,
namely, F H of fig. 8 is greater than F H in fig, 10; and F H of fig. 9 less than F H. of fig. 10; because
the position of the leg K I depends on the circumstance of suiting the model to the kind of garment
desired. ‘The fit will be correct in all these different positions of the leg, though the style of the garment
will be different.
There is one more point which must be understood respecting the centre of the heel, namely, if the
model should be so constructed that the three points L, EK, C, of it are changed in their position, as for
instance that E is placed nearer to A, and L nearer to B, and F E nearer to C, but done in such an order
that C D as well as EH B+ BL remain unchanged in size; then if this takes place the centre of the heel
in the model will change also. This may be best illustrated by fig. 11. Think for instance that A BC D
is a cylinder, C D G L an inverted conic frustum, both figures joined in CD. From the cylinder part of
the fig. 11 take off an ungula by a section C F KE inclined to the base. Now think an axis K I common
to both parts in the figure; and then think the whole surface F B EC G H L horizontally revolving round.
the fixed leg axis K I; it then is clearly visible that the heel H in the model will be removed from its
original position. And as the axis K I, with the real leg of the figure, is fixed, the centre of the heel in
the figure will not farther coincide with the centre of heel in the model.
From these two facts it will be seen that if the centre of the heel in the model shall remain unaltered,
and coincide with the centre of the heel in the figure, the model must have a fixed position in its
horizontal as well as vertical direction ; and that if changes take place here, there must also be made a
change in the centre of the heel accordingly, in order to find again the correct centre of the heel in the
model, coinciding with the centre of the heel in the leg of the figure.
(c) The third stage of modelling for draping is not alone to connect the fine art principle with the
industrial technic, but to base it as well more intimately upon scientific principle ; which means to bring it
in closer connection with that science termed the geometry of the human figure, keeping in the same time
as closely as possible in mathematical method, without neglecting the free hand drawing of those curves
which can be drawn more easily for practice and for exercising taste in the esthetical principle than by
drawing the same curve after geometrical laws. This may be best illustrated by the fig. 12, Pl. 2, App.
We may think for instance a leg C A H, and the pelvial axis F D, remembering from the development
in Anthropometry (Geometry of the human figure) that A B = GC, and that BE—DC; and
as G C — 53 and
IDG 2
Therefore is GC + DC = 62; and for that reason must also be
AB+ BE—6}
The point FE is also a true and fixed point in the pelvial parallelogram. Similarly was the point I
found as correct, and after the height of the pelvis E K was given, the iliac point L was found correct, in
the developments from the pelvis. The fixed right angle EK LM is again applied. ‘The fixed points
Land Kare to be here, as well as before strictly attended to; also a third point H, that of the leg, in
relation to E and L must be neither disregarded; then in whatever way the model is drawn or constructed,
three points must be fixed ; the hip (iliac) point, the stride (coxygis), and the heel point.
It is of consequence to remember from the developments that the real figure after a close measure in
the line E L is 13 less than EL in the model ; and for that reason if the nett measure were taken from
figure in the diagonal direction E L and then placed in this same direction upon the model, such diagonal
measure must be 14 units shorter than the model EL.
Simplified for practical purpose fig. 18 presents a corresponding model, and this will illustrate in the
same time if compared with former productions in this work, what innumerable ways there are to construct
models when the scientific foundation of an industrial technic is well understood:
12
In a similar manner as in figs. 8, 9, and 10, the fixed point F is kept for a guide to the position of the
leg in the model, the point H in figs. 12 and 18 is best to be kept fixed, although it may be varied as fig.
14 illustrates, where H may be made to take the place of 'H or H’, and then from either of these points
out, the breadth of the heel equal to 84 may be set off. This figure 14 illustrates in the same time another
mode of procedure in constructing the model, namely make A B — 133 units, the height of the pelvis 9
will, united with 133 under right angles, produce a parallelogram AK GB. Halve AB in C, and make
CE = 53, and C D — 53, then is AD —1 and also EB—1. That it is not incorrect when in this case
A B = 183, instead of as in the other models, 18, will become clear if we see fig. 18, where EB— EF;
where we take from the entire just as much as was added the entire must remain unaltered,
There is another point worthy of remark, namely that in fig. 14, E may be varied into F, when in the
same time also G must be varied into I. This variation gives more ease in the seat and stride, still any
superfluous quantity in this direction is neither recommendable, the best is its proper proportion ; but if
such variation is made, HK F — 3, and GI = } is sufficient, + is the quantity oftener taken.
Which is the best line to choose of all in the model as a fixed one for guiding the position of the leg,
F E in figs, 8, 9, and 10, or AH; H C in the model, figs. 12, 13, and 14, or still any other fixed line?
This is perfectly optional. As the chief object is to have one fixed point H to regulate the heel of the
model in fixing its position to the other two points, hip and stride. Another very suitable line for this
purpose would be E F see fig. 15, if the pelvial axis E F were continued as FD; or, as some may prefer,
if its corresponding line E’ D’ in the surface of the model were taken instead.
The young student will from this easily see that, taking a single element by itself in a complexion
of lines or points, it is of no value or importance whether such element is a centre line of the leg or any
other line, unless taken in connection with the rest of the elements necessary in such a complexion. The
part of the model fig. 14 is constructed from the small proportion measure fig. 16; and the models figs. 12
and 18 are constructed by that presented under fig. 17.
q 8 (a) Having now described the three stages of modelling for the trouser garments, it needs
only to be said that the same which is affirmed of this in respect to the perfection of the art of modelling
for draping the real figure is also true of all other garments. And strange it is to say that some masters
are yet only in the first and primary stage of the art; many in the secondary, and only a few have arrived
at the highest. Living more by the name of the established house to which they succeed than on their
own merit in the art, they not seldom harm the young students who follow their advice, thinking that they
must do so from the respectability of their authority. So unsound are the ideas of these respectably
acknowledged men that they condemn spending anything on artistic or scientific instruction. Here is the
truth exemplified that the smaller the diameter of light the less is the circumference where darkness is
perceived, But they may see so far, if they only consider how much the learned professionalist must spend
to qualify himself, and how little, in the majority of cases get in return, compared with them whose outlay
is so trifling, or nothing even for learning, and who receive so much. Tf the manufacturing tradesmen
would think of this, he certainly would not consider every expense for learning to be too much, but rather
progress with the time, and render more justice to the consumer for that amount of material benefit which
is turned over for him to enjoy.
(2) But selfishness and narrow-mindedness do not rest here, they go farther and doa great national
harm. And this is when manufacturers cease to compose and design, only copy one model from another,
or one pattern from another, so as to employ fewer persons in the establishment. This brings the greatest
harm in the long run, not only to the establishment in the highest degree, where the principle of fine art
and science is by copying, lost, but to the whole nation where such evil spreads. England is an example
of this, from which cause she has sunk in taste behind every other civilised nation upon which she claims
to stand in equal footing, as was sufficiently demonstrated in the Great Exhibition of 1851.
It is a fact that in Germany it would be disgraceful for a master in clothing the real figure not to
construct for every garment ordered a new model; or to copy from another which has been a long time
before constructed, or from one which happens to be near in form and size. And wonderful it is that the
13
very German just as readily as the Englishman, established in England, especially in London, falls into
the plan of copying; from this it comes that garments are tried on over and over again, and almost worn
out, before the consumer has them in his possession, A master of his art need not try on, such is only
the procceding of bunglers. That this is true is proved that in the largest establishments where most is
copied there is the most spoiled ; and in the middling manufacturing establishments where most is designed
composed and constructed there is again in proportion less spoiled in fit and taste, as it is made a point
to construct the model to every order; and again in very small establishments where limited means do not
allow of scientific modelling at all, and there is nothing but copying, there is the most spoiled in fit and
taste. Ifa master manufacturing to order were to copy only, where is the diference between his article
and that ready made ?
These hints are not given in any reproachful spirit, they are truly written for general instruction and
benefit, especially to direct the young and ambitious commencer, for whom there is ample room if his
industry, skill, and knowledge of the art are such as to make him known to the influential consumer, and
by which he can get fairly paid for his superior products. Let the young commencer remember that in
ancient times valour was rewarded by risking life in destroying towns and catching beautiful queens, but
now valour has its reward in amassing wealth in a nobler way, by industry and free competition, and by
giving to the consumer better, and at the same time more beautiful articles.
SUPPLEMENTARY REMARK ON VARIATION.
q 9. If then, as from the preceding statement it appeared that the construction of a model for
every garment ordered is of such great importance, and as from previous instruction the arranging of the
drapery (clothing or garment) to the figure must be absolutely correct if such garment shall be tasteful
and becoming to it; and farther as the position or carriage of the figure as well as the costume (style of
the garment) influences much its tasteful and otherwise correct form, then it may be justly inferred that
the knowledge of variation in constructing models for draping the figure cannot be enough impressed on
the mind of the student.
Now, the variation of the model according to the position or carriage of the figure, and its variation
according to the costume (style of garment) are quite different from one another, although the model for
one and the same figure may be intended. Hence there must be a double variation of the model. An
example of this may be easily illustrated by fig. 8, Pl. 12 of this work. On the same plate are presented
figs. 2 and 8,models which are constructed according to the form of the figure, normal in its form of dimension
as well as in its form of position. But the costume of the present time requires that the model must have
such an increase in the front of the waist as if the figure had a first increase D} in this part, similar
to that model presented under fig. 7.
It is clear if the costume of the time demands such an increase in the front of the size of the waist in
addition to that which the figure requires, then must such increase not only be attended to in models for
normal figures, but also in those for abnormal ones. For instance, such a form of model with a decrement
(D7) as seen in fig, 8, must be added, in the front of the waist, the increment of costume (costume
difference positive), Here then has the model according to the figure D~, and according to the costume
D+; but D- == of an inch, about; and D+ =1 inch; hence the normal size receives an addition of 2 of
an inch in this case. From the above example it may be seen that a similar proceeding must be adopted,
if the model is for a figure of the form of D ¢ or D T+ D¥; only with so much difference that in slender
forms the costume difference may be added liberally, whereas by the broad forms such must be added
sparingly. he artist must in cases like these be guided simply by the esthetical principle, namely, to
place the figure which is to be draped, and that which is of a normal form mentally before him, and think
the ratios of the parts in that figure before him to be draped, are to be in approximation equal, when
draped to those of the parts of the normal form. However complex a case may appear to be, in reality
each one is extremely simple, if proceeded with in the following order, namely, from one condition to the
other. Naturally the student must be correct in the primary elements out of which he composes the part,
and in the parts out of which he composes the entire.
14
He may ask himself the following questions:
1.—What primary form of the figure have
I before me as to its dimension ?
D3} ~ y a
kha abpormal dom. of Agung Raye 1 What decrement, what increment?
before me as to its dimension? }
3.—What variation, as to position of the } Deyiating positively or negatively from the normal
figure ? position.
4,—Am I clear in that which constitutes the normal form of position ? and wherein is the differ-
ence between a normal form of position and that of a normal form of dimension in a
figure ? from what do we understand all these forms in the human figure ?
} Proportionate, slender, or broad ?
And then if perfectly clear in all these points the variation of form according to the fluctuating style
in the costume is extremely easy, and the style produced is elegantly beautiful on the figure. But with-
out certainty in the primary elements, the artist falls into guessing, loses the ground-work in modelling,
he copies, and sinks into a mere bungler, producing unsightliness instead of beauty, and thus he clothes
the figure unbecomingly.
Speaking of unsightliness here, it may be mentioned that a waist as short as at present, namely, the
real length equal to the normal length as in fig. 2, and then made larger in the size of waist at the
front than the figure requires, is not in normal ratio to the increased waist; and ugliness of form would
be the consequence, if the length of waist would farther decrease and the size of it increase. Though the
artist is here directed by the costume of the time, he must still adhere to the wsthetical principle, and be
chiefly guided by it; he must hold fast in the mind the figure with its normal ratio, and approximate it,
if he is not allowed to equal it, and the beautiful will be preserved. For this reason, though the real
length of waist is demanded to be made equal to the normal length, still he would make it longer on account
of increasing the size more in the front than the figure requires it.
There have been and are costumes where the length of waist is much shorter than the normal length ;
but then the artist guided by the esthetical principle produces in the form an approximation to the normal
ratio, in decreasing the size of the waist in the front accordingly. As an artist, he must cultivate and
elevate, not lower and destroy human taste. Interest can never induce the artist to forsake the beautiful,
similarly as interest can never fascinate the nobility of morality to forsake virtue. ‘The artist or the scientist
yenerates the truth in the principle of the good and the beautiful, and his purer mental being like the
warming sun, calls forth the charming new and fresh from all that he touches.
A FINE ART VIEW OF THE CLOTHED FIGURE.
10.——It must have struck many reflecting and thinking men that every ready made article in
any industrial art may be beautiful and correct if science and fine art are employed in its production,
except ready made articles of apparel. And still not a single article which ornaments and decorates
man is so purely an object of fine art as a human figure most simply draped or clothed,—not meaning
ornamented. The truth is clearly this that ornaments merely, of all sorts can be beautiful by themselves,
without being connected with any other object. For this reason they are proper mercantile objects, in
the same time that they are beautiful in themselves. But it is not so with simple draping or apparel,
because this can only be beautiful in connection with the figure, and ceases to be so immediately it is
separated from it. There is a clear and tangible proof of this, namely, that every kind of form in a human
figure has its especial points to which the drapery or apparel must suit, in order to bring out the beautiful
in that form. Hence it is self-evident to every clear understanding that a ready made article of apparel
for the human figure can have but a rare chance of suiting a special figure. And for this reason a ready
made article of clothing can never be an article of beauty in the hand of a seller, until a figure is found
which is perfectly suiting to it. Ready made articles of apparel therefore find their admittance only
among the vulgar, or those devoid of taste. Hence it is that in countries where people are sunk below
the standard of taste, or have perhaps never reached it, so many ready made clothes establishments are
15
to be found; and that in’ the same degree that people advance in culture of taste, order trades in this
department of industry increase, and those of the opposite kind decrease. As a proof of this assertion
it is known that in every town upon the globe among the higher classes there are order trades; and
amongst those yoid of taste and the poor, there are ready made establishments. Now apparel is of such
universal necessity to all ranks of men, that the taste of a nation can well be measured by it; and it
will be found to have sunk lowest where nobles, and prelates even, neglect to elevate trades to arts,
tradesmen to artists, by directing their wealth to augment the purity and beauty of this branch of art, and
instead, vulgarise and vitiate the taste by supporting the means which lead to it. But this class of men
being in numbers the most enlightened in a state never persist in a false direction of their wealth ; they
always endeavour to promote with it the best, only doing the contrary while selfish speculators delude
them, which in the line of apparel is easily done, as there is not sufficient literature of this kind circulating,
in a generally readable form which instructs them in taste, and exposes the false tasteless and vulgar. The
“ Art Journal” for January, February, March, and April of this year 1853, has some excellent articles, and
it is to be expected others will follow to cultivate this most beautiful branch of art.
Taking now all elements together which have been argued upon, it is evident that persons in this
branch of the industrial art (more appropriately named fine art), making articles of apparel to order have
success insured to them, if they will by industry and knowledge rise, make their trade to an art, and
themselves to artists. Then, as shown in the previous paragraphs, most of the order trades existing,
especially the larger ones, have neither done much better than merely copy one form from each other, and
they fall beneath the standard of producers of tasteful articles, and for that reason cannot stand in the time
when the cultivation of taste is making progress. Self-interest and ignorance must necessarily diminish
in the course of the now-moving elements. Hven wealth is no barrier to the steadily rising sun of intellect,
revealing and augmenting the true, the good, and the beautiful, for the sake of all who love to dwell in a
pure and serene atmosphere; and as carried on the wings of the industrial principle, creating not only
physical, but also moral purity.
On the preceding arguments may be linked a curious misunderstanding showing itself frequently
between the employers and the employed in manufacturing industry, and in fact tending to impede the
development of the nobler elements of man. Such retarding elements as misunderstandings may have
very much added in England to the obstruction of the fine arts, and amongst them the scientific principle
in her manufacturing. Namely, the employer urges that “if the employed is more skilled and better
informed than I am he will not stay to serve me.” On the other hand the employed says, “if the
employer knows too much it is not for my interest; he is finding fault with my proceedings, directing
me too much, requiring productions of greater taste, and ends with dismissing me, to engage some person
in my stead.” It is wonderful to say, if there are wonders, both of them in their misunderstanding, or
rather in their understanding to pull one another down, depart each his own way to look out for some
one whois more ignorant than himself, in order, as he terms it, to master his opponent. Were it not more
desirable that both should learn, improve, and harmonise instead of separate? ‘There are other more
reasonable causes of uniting and disuniting; in which skill and knowledge are equally concerned, namely,
if the one or the other is uninformed or unskilled, and the better informed will not submit to a depreciation
of his skill, or aims to bring himself and his art to a higher perfection and elevation. In this case there
is a very reasonable division, because wisdom cannot blend with stubborn, self-conceited, and stiff-necked
ignorance, similarly as virtue will not blend with vice. For the mental (spiritual) world has its opposing
elements just as the physical. Add negative to positive and the values will destroy each other. Add
negative to negative, and positive to positive, both will make an important sum. And so will blend wisdom
with wisdom ; virtue with virtue; and wisdom and virtue unite in the dominion over every sphere of
human action and industry, however small or great, if man by his own will identifies himself with them.
Farther, the human mind when young is especially active, and desirous of being employed, and as experienee
has shown that the most active and vivid minds are those requiring unceasing occupation, if there is not some
of a proper kind given they will turn to a pernicious one; while the weak-minded on the contrary fall into
slothfulness if not employed. Were it not then better for parents to observe this natural law, and direct
their youth in the pursuit of the fine arts, and the scientific principles kindred to their industrial art (trade
or manufacturing art)? And that with the two-fold view, first to prevent the inroad of destructive prin-
ciples, second for their completion in their art, as tending to their own self-respect and interest, and united
16
with this the placing them in the road to gain material as well as moral wealth, instead of seeing them in
a way to become but secondary or even quite useless members of society. While some, on account of not
being habituated to a systematic and orderly direction are dabbling a little bit in one branch of industry
and_a little bit in another. ‘“ Friend—whatever thou art be that completely and entirely.” To be but
half in an art is to be a lever without a fulcrum.
TEUTON CAPE MODEL.
g 11. The Teuton Cape is a loose over garment with a sleeve, in other respects it resembles the
Italian Cape. Both these articles are considered very elegant to wear as over garments in the summer:
but as the Italian Cape is really unencumbered with a sleeve, and the Teuton Cape has one, it is obvious
that the former from its lesser weight is more adapted for the summer, and the latter for the winter season.
The form by itself, the first being lighter and the second heavier in appearance, would decide the opinion
of those persons who are guided by the esthetical principle. But again with regard to those who have
no keen perception of the beauty and suitability of form, and see nothing but the bare utility, either of
them will be found adapted equally to each season, only that for the summer demanding a light, and that
for the winter a heavy material.
The figs. 1 and 2 Pl. 8 Appendix present the Teuton Cape model, which may be compared with the
Italian Cape model Pl. 2 Appendix. The construction of the Teuton Cape is very simple. Fig. 1 presents
the forepart with its proportion numbers and measure. First make the entire length A B equal to the
length required, but it should not be longer than the sleeve and three units in addition ; for a person
with a long arm the quantity added should be even less, otherwise its entire length will not be becoming
in relation to the whole height of the figure. After the co-ordinates in right angles are defined by their
proportion numbers, and the chord DC is drawn, halve the chord, and draw E F'; make EF equal to the
length of the sleeve, measured from the vertex E. Draw from E out with E F the curve FG; and after
this draw from the point H out with the distance H F the curve F I, and make GI—=FG. The rest of
this part is very easily perceived without farther explanation.
The hind part fig. 2 is obtained by drawing first a quadrant A BC with the radius A B= 72. After
this make A D = 1 and draw the chord DC; draw the curve BEF by free hand. It needs scarcely to be
mentioned that the curve B EF of the hind part is joined at the curve ED K L of the forepart.
There is another point worth mentioning in connection with the construction of this model, namely
to mark what difference there is in the circumference of the shoulder or axilla angle of the cloak model
and that of the half circle of a geometrical figure. The cloak model is deduced from proportions found in
nature by the studies of anthropometry, a natural science. The half circle, true in itself and universal is
a figure of pure or abstract science. Hence it enables us to measure and clearly to comprehend the parts
in relation to each other, of special nature and of art.
Thus for example place together the hind part and
the forepart of this model on the line AG in the vertex B, see fig. 2; now we see that the forepart has an
angle C BG — 90°; and the back has only ABC—E
BC equal to 90°
40°—50°; hence is CBG+ABE
=90°-+50°—140°. Therefore the circumference angle of this model in the axilla, 140°, taken from the
geometrical figure of a half circle, 180°, is 180°—140°-—140" ;
figure and that of the model. Or as following :—
the difference between the geometrical
ABC=90°
ABD=10°
Hence is ABC—ABD=90°—10°=80°=D BC.
Now, as DBC=80°
divided by 22
it is DBC=80'=40°—=DBE=EBC.
2 2
Now, as DBE=40°
And ABD=10° added
itis DBE+ABD= 40°-+-10°= 50°.
18
According to this the hind part ABE=50°
And as the forepart is CBG=90°
Hence is the entire angle of the model ABE-+ CBG = 50°+ 90° = 140°
Now take the angle of the model, 140°, from the angle of the geometrical figure 180°, then is the
difference of both 180°—140 = 40° the same as above. The situation of this difference is in EBC.
The same result is obtained if the hindpart and forepart of the model are placed as fig. 8 presents;
but we must, in this instance think the quadrant A BC twice, namely 2 A B C—2:90° — 180°; and the
hindpart ABE plus the forepart ABC equal to 180°-—-40°— 140° as above; because the angle EBC
= 40° is the difference of both figures, which is not filled up with the model. This angle which indicates
what amount of angular space is not filled up with the model may be termed the immaterial angle of the
axilla, when the other which is filled is termed the material angle. All models for loose garments may be
defined by the angular magnitude in the axilla angle with great practical utility, and it may also assist to
define the form in this part of the model.
FRENCH MORNING GOWN MODEL.
qj 12.——The model fig. 4, Pl. 3 Appendix is for a French Morning Gown, which is an article that
in all the changes of fashion has remained the same in its form, and by gentlemen of nearly every nation
preferred before any other style of this apparel; indeed no garment is more suitable or more elegant for
the purpose it is designed.
The construction of the model for it is extremely simple. After drawing a square line A DB, define
the co-ordinates by the proportion numbers, as is presented in the model, for the hind and forepart in the
same time. When this is done it is evident that EB is the normal line for the height and form of the
axilla in the model. If there is now taken EF = 1 unit from the normal form EB to define the hind-
part F B, and EG — EF added to the normal EB in order to obtain the forepart GB, then the model
in the entire of the axilla remains unaltered in quantity, but the style of the axilla is by this permutation
of the normal line E B improved, as seen when the garment is put on the human figure. The thoracial
line H I equals here 11 units, whereas in other loose garment models of this kind it is equal to 10 units.
This special increase is made that the hindpart K B and the forepart L B may be broader in this model
than those parts are in other models. Farther as OI P evidently directs the size of the surface in the
model, it is clear, that wherever K is taken or fixed on the hindpart, Q or the forepart must be found
accordingly ; hence is QP =P K, and I1Q—IK. It is by itself clear that R Q is parallel to or divergent
from O P, similar as S K is parallel to or divergent from O P.
The collar on this garment is a Hungarian roll collar, sometimes termed a shawl collar, and easily
placed correct if B T is put under a right angle to EB, so that the angle EK BT equals a right angle, and
afterwards B'T made equal to BD. Also BT U is equal to a right angle, T U =6 units, and U Vis drawn
by free hand.
TEUTON PILOT MODEL.
q 13. Under fig. 5, Pl. 3 Appendix is presented a Teuton Pilot model, which is, with some
exceptions, similarly constructed to the one just described in that of the morning gown. As a model for
an oyer-garment A B= 33, but in a case where it is not to be worn over it is better to shorten the collumial
curve of the forepart by making AC = unit. Also here as in the former model in the axilla KE D —1,
and EF = ED, but GF = gives the curve GA falling + lower in G than the tangent FA. Farther
the hindpart and the forepart are less broad than they were in the former model and therefore the
thoracial line M L = 103 is less also. N M directs the surface, and for that reason the quantity taken in
N from off the hindpart is again put on in N to the forepart. There is still one more important point to
19
be observed, namely that H I =O B, in this instance equal to 1 unit, the fovea axillaris of the forepart, is
to be placed higher than it is found on the hindpart, as the point P of the forepart indicates where the
point M of the hindpart is to be joined. The reason for this is the circumstance that the lower angle
of the scapula on the human figure has a definite position in relation to its levator vertex; so much, that
O of the hindpart will take its place in B, if the garment is put on the figure. Hence the closer a model
is constructed to the form of the figure the more attention should be given to this fact to construct
accordingly.
It may be an assistance in clearing up the form in the axilla in different models to make a comparison
of the angles of the axilla of the three models treated of, namely, in fig. 3, the angle E B C = 40°, and if
B C joins in B E, then the unfilled or immaterial angle is 20°. But if as in fig. 4, GB is joined on to FB,
then the immaterial angle EK B C = 223°, and this is also the case with the same angle in fig. 5, only that
in fig. 5 the point F is still farther reduced, which is not done in fig. 4. From these comparisons we see
that the looser the garment is to be, the more material, and the less immaterial angle may be allowed in the
construction of the model; and the reverse holds equally good in a closer model. But not less material
angle can be, taken than the exact size of the human figure requires, for if too little is taken in the axilla
of the model the levator vertex in the collumial line becomes too loose, and would not touch the figure in
this part, which being the case no garment could be correct.
The sleeve to these two last models are of one and the same form, as presented under figs. 6 and 7,
the construction of which has already been treated upon in former articles in this work. But it may be
repeated with some slight difference ; a piece of paper is folded double in A B, AC = 34, and DCB made
equal to a right angle; D B made equal to half the axilla line of the model (} armhole) and after that, the
size A E is fixed, and EH D drawn; draw a straight line FG in the middle of the area KACD; make
HG — 13 equal HI, and draw the curves B G D as well as BI D out by free hand. When this is done
open the paper, fold it again so that KE D of fig. 6 takes the situation of ED in fig, 7; AD is held on in
B, but ED is stretched out in C; D is joined in the middle under the arm, F in the front, and G behind.
The form of the Collar fig. 8 is given, the construction of which has before been defined ; its size
is to be taken so as to make it correspond to the entire collumial line of the hindpart and forepart.
It must be remarked in conclusion that all three of the models are constructed by one and the same
proportion measure drawn in fig. 1; and that such measure of size must be taken rather large, as it
invariably should be in models for loose garments; for instance, if the neat size of the breast measure is
18 inches, then the measure used in the construction must be 19.
VARIATION.
.
q 14. In the course of this work the variation of a model according to a servant’s form has been
treated of, and also the style of servants’ costume; such variations being illustrated by the figs. 2, 3, and
4,PL17. It has also been explained that it is better to increase or decrease corresponding parts in a
model, if only certain parts in the figure deviate or vary from the normal form, and that only certain parts
in the model need increase or decrease according to the style-form in the garment instead of constructing
the model under these circumstances by a larger or smaller measure than it would require if the figure
were normal in all its parts. See for the latter the article on Over-Garment Models. It has besides been
fully explained in the article on Variation that the increments and decrements may be taken as small or
large as we please according as the corresponding parts in the figure may require. And, as the quantity
usually required is 3 unit, the general terms substituted for di} were dx and dy. Still some persons
(strangely) have understood that the differences d av, d y &c. &c. should always be d}, even when the
case required d} or di. To aid them in seeing it quite clear, it should be borne in mind that the
normal form of the model must be before all constructed by @ correct measure of size ; and after this
according as a certain part or parts in the figure deviate in size and form from normality, the
corresponding parts in the model must be increased or decreased by d x, dy &c. &c.,in any case where
20
it may happen that da or dy, and so on, is ever so large or ever so small. The fluctuating part in the
human figure defines the magnitude. wnt
For this reason whenever it is found that for any given figure the increments or decrements in the
examples given under figs. 2 and 8, Pl. 17 are too large in the one case, or too small in the other, they
need only be taken suiting to the circumstances less or more. If it is required to vary, less than + need
not be allowed, it would be better to leave the model normal; more than 3 very rarely—according to
experience—is required. As to the question if a part (element) in the model demands a certain increase
or decrease; then, of what size must the increase or decrease be in the rest of the parts? The law of this
is laid down in the examples given in the course of this work.
q 15. ‘There is a case where the figure in the acromial region, or acromial circumference is out
of proportion large (large in the shoulder) sometimes the reverse, small (small in the shoulder) in relation
to its thoracial circumference (breast measure). It is required that models shall be constructed according
to these abnormal forms of the figure. Such is easily done, but in order that the student may attain a
philosophical insight into the matter, a few remarks may precede this part of variation.
There is a geometrical figure known under the name of the Pythagorean theorem, see fig. 7, Pl. 17,
which presents such truths, that always the sum of the squares 9 and 16 erected on the cathetes A B and
B C of any right angled triangle, A BC, is always equal to the square of 25 erected on its hypotenuse
AC. ;
Leave once this general truth out of question, and choose out of all right angled triangles that special
one the cathetes of which are, as here in fig. 7, composed of the numbers of units 3, 4, and afterwards term
all such, normal triangles; think one in the same time as a special figure, as a form which may be put
down, and may stand up like other special things in nature and art. If we think it so, we can also think
it as having breadth and height, A B being its breadth and BC its height. Now there is a figure placed
before us consisting of three parts, namely that of 16 is composed of breadth, that of 9 its height, and
that of 25 composed of breadth and height. A unit then in A B may be termed 8, and a unit in BC may
be termed, 2, Ifa unit h equals a unit 6, h =d, then will the unit h as well as the unit b measure the unit
in AC, All forms where this happens that h—=D shall be termed proportionate forms: but the rest
where h < b shall be termed broad, and where h > 8 shall be termed slender forms.
Farther, each of these three kinds of forms shall be normal, but if a part or parts of any of these
kinds of forms should increase or decrease, then the varying form will be an abnormality in the parts,
though in its primitive it is of a broad, a slender, or a proportionate form.
In order to illustrate this let there be chosen at liberty any one of these three kinds of forms men-
tioned. For instance the fig. 8, Pl. 17 shall be one of those normal forms, consisting of its normal parts
D, E, F; think now BC increasing or decreasing as much as you please, say as much as C G, then the
part F of the figure will also increase into a greater square BG HI. If the normal square is termed
F the larger one may be termed F’, and the difference between F—-F—dF; which means that the
smaller square taken from the larger gives a difference, infinitely small or large, as the increase CG is
infinitely small or large. But if the square F increases into F’ then E must of necessity also increase into
E,, because with the increase of BC into BG, the magnitude AG > AC; therefore the square of AG
is larger than the square of AC by E—E=dE. (It has been mentioned before that d is not a quantity,
but a symbol, denoting that the quantity before which it is placed is the difference between two foregoing
quantities). The A B shall be always given, and is therefore always a constant quantity. Similar to this
is it also with the increasing and decreasing in certain parts in the human figure. ‘Take for example the
thorax, see fig. 9, Pl. 17. Here is always the thoracial line DE given, and for that reason a constant
quantity. ‘This thorax of the figure always consists of three parts ; the lower part DEK I, inD E constant,
the middle part BC ED, in BC fluctuating, and the upper part (axilla) A BC fluctuating also, accordingly
as the middle part of the thorax BC ED may fluctuate. It may now be easily conceived that, as always
the normal parts BCED, BAC of the thorax are known, its fluctuations and differences DFG HE
C AB may be readily determined, when we know from experience that such generally increase within the
21
limit of 4 unit, and decrease the same, and if we are also acquainted with the laws giving the amount in
quantity and position that a second, or a third quantity (part) &c. increases or decreases, when a first
quantity is increasing or decreasing.
{| 16.——As it is especially here the object to show the variation of the model in the region
corresponding to the middle and upper thoracial parts of the figure, such variation can be more efficiently
illustrated by the example of a model where its practical value becomes at once clear.
Let then fig. 10 present a portion of a model where the parts ABCD KE, FGHIK are normal,
corresponding to the middle and upper parts of a normally formed thorax. In its normality ED is joined
at KF; and the form ABCDE, FGHIK joined in ED with K F will cover the middle and upper
parts of the thorax in the figure. CD-+¥G will equal the collumial line, and even so will AE+ KI
equal the axilla line in the figure, and similarly with the remaining parts in the form; as before said the
entire form will cover or be congruent to the middle and upper parts of the thorax.
The thoracial line A B + I H is always given from the figure (commonly termed breast measure) and
it is for that reason always a constant. Also the normal form ABCD E, FG HI must be once thought
as constant, being always defined by proportions; but in the same time fluctuating in the acromial region,
LE, K G, and fluctuating in the entire axilla LCD E, FKG.
If now the figure in this region increases or decreases it does so in LE and K G, and in CD and
FG; namely in such a manner that the form, here fig. 10, must increase or decrease in the direction that
EDF K presents it accordingly. In fig. 10 is given a form with its increase ED F K, where EK =D F.
But whatever the amount of increase in D F may be, L C must increase } D F and also H G must increase
DF; expressed in words the increase from the normal point C to the variable point C’ is equal to the
half increment of the axilla breadth. After this let a curve be drawn from the variable point C’ parallel
to CD, nearly touching F and continued thence to the variable point G’, as C’ F G’G” presents. This
will be the varied collumial curve for the increased form LE K GG’ FC, fig. 11.
The decrease in the axilla region in this form is treated reverse to the previous and scarcely needs any
explanation. Still to some persons an illustration may be acceptable. We see then under fig. 12, the
form which this variation presents. Here is the normal form LE D C and F K G, but K F D E is its
decrement. If this, then is 'C C —} DF, and also G'@=}DF. Now let these be drawn by free hand
the C F parallel to C D, and continued from F to 'G, the G moved into "G, and the line ‘CF "G is then the
varied collumial line, as the decrease of the axilla required it.
There are some complex or compound cases of this sort of variation, namely to change the form
according to the increase of the axilla height in the same time that such form decreases in breadth. If
this variation is intended to be made there must first be the increase according to the axilla height, and
afterwards the variation followed according to the decrease of the axilla breadth. The other case of this
is, when the height of the axilla decreases and in the same time the breadth increases. In this case also
the variation must first be made according to the decrease in the height of the axilla, and then followed
according to the increase of its breadth. Two more variations are possible to be made in this form;
namely, the first, is that which can be made according to the increase of the height and increase of the
breadth in the same time, second, that according to the decrease in the height and decrease of breadth in
the axilla. Any other cases than these are not possible in the variations of form which the axilla may
assume in the human figure.
A variation in the model according to the increasing axilla line in the figure may be presented under
fig. 13, Pl. 17. This variation is sometimes caused by the increase of the figure in the pectoralis,
infraspinatus, and. deltoid muscles, but sometimes it is occasioned by mere style of garment. But in either,
the modeller is enabled to obtain a larger sleeve part, and greater ease in the axilla line than could be
obtained if of a size suiting the normal form, which was the object of this variation, in order to produce a
different style in a garment, making it in the same time more comfortably adapted for warm summer
weather, and still not too loose to be becoming, keeping in view the esthetical principle in the variation.
22
The three differences (increases) in CD, F E, and GH are each of them equal to } unit; and the two
differences in CB, and KL are each equal to $ unit. It is simply to be borne in mind that the increases
and decreases are differences lying between the normal quantity and its altered magnitude, deviating from
that normal state. As in construction the normal quantities are always known, defined, and presented as
constants, we need only give attention to the varying differences, and observe to keep the relation (ratios)
of them to one another in this fluctuation. Close observation and steady attention can only disclose to us
those laws; and without which no one can say he has experience or knowledge in form of position. But
it must in the same time have become clear to the attentive reader of this article that the variations are
according to the figure, or to the style of garment, (costume) or according to both of them together, and
are by no means difficult or dark, but the reverse clear and intelligible. So for instance is A B equal
normal (n) plus difference ; BC equal normal (n) plus difference 4; and KL equal normal () plus
difference i.
Whoever would like to study pure science, and in the abstract conceive the ideas of differences and
differential, may advantageously engage themselves with a small book by W. S. B. Woolhouse, published
by Mr. Weale, Strand, 1852. The ideas called forth by this science are most valuable and enlightening
to every one occupied in any art involving forming or shaping. The student in an industrial technic will
soon find in his practice how far, and in what manner this noble science is of real practical use to him.
To combine pure science with a useful and industrial art is a most profitable and high achievement. But
however humble an industrial art may be in which a man is engaged, if he raises his occupation on the
wings of science to an industrial technic he raises himself with it, not only to his own profit in the
production of superior articles, but also in becoming esteemed by the worthy and best, informed: who
being themselves of a scientific and esthetic culture, as touching their own being are kindly and fostering
in their contact, like the sun meeting his own beams in the deepest cavern, warming into life the latent
blossom and fruit.
SPANISH SLEEVE CAPE MODEL.
q 17.——In 3 Appendix, a Spanish Sleeve-Cloak Model was treated upon. This model may be
converted into a sleeve-cape model, of the form represented in fig. 1, Pl. 4 Appendix, if the fovea axilla
point I in the model is brought nearer to the corresponding part in the human figure, than was done in
the first mentioned model. This borne in mind the construction of the model will be by itself evident ;
because the relation of its parts are defined by the co-ordinates and proportion numbers; co-efficients of
the unial quantities. However it must be observed that from the levator vertex A, with the radius A B,
a small curve B Cis to be drawn, and after this a right angle (square) placed on A D, which must slide
towards D, until it is in the position A D E, so that the les D C = 10 units, and intersects the curve B C
inC. If A C is now drawn, and also out of A with the radius A E — 4 units, a circular curve E F G H,
then will G F — } unit as nearly as possible. The angle H A E which is filled up by the material of the
model is equal to a right angle minus } unit, in the chord F G. This shews that the material surface
of the model in the axilla region is full, and may for this reason, if required, be lessened ; for it has been said
before in the course of this work that the entire in the axilla of the figure can be covered with an angle
of 185°; but here in this model the corresponding angle is nearly 2.90—=180°. Of course it is to be
understood that the sleeve part A D C is folded in A D, and therefore double, and that K A B the hind-
part, and L A B the forepart, are placed one upon the other. And farther, that this entire surface 2
H{ A Eis meant to cover the axilla of the half human figure.
Farther, fig. 2 presents the same model just treated of, only with the difference, that the surface of
the axilla is less than such is in the previous one. The immaterial angle B A C has, which will be seen
by comparison, become larger, and according to the amount of this increase, the material angle has
naturally decreased, though not in right, but in curved linés, as B A and C A present. In order that the
collumial curves F A, and G A may not be contracted (the model being for a loose garment) by taking the
seams from A B and from A ©, it is better to increase A B by making D E = 1 unit, and to draw B E
instead of B D.
As there are some persons who rather prefer having the sleeve point drawn separately, the model
presented at fig. 3 may be acceptable. But, in every case of constructing a model of this sort, the sleeve
part of it being drawn as presented at fig. 3, as in the foregoing figures, after it is taken out of the paper,
must be opened at the crease A B (see fig. 7) and the point B varied into the position C. This done, the
point C, instead of B, is taken as the vertexial point B. From the point C out the full lines are now drawn,
as C D and C EK represent them. The line C E is put in the forepart, and C D on the hindpart. The
deviation of the straight sleeve form D B F into the forward bending one D C E is simply on account of
the human figure being depressed in the clavicular, and projecting in the scapular region; and though the
garment may be ever so loose, if the model is not harmonious with the figure, it will not fall upon. it
naturally and with ease, but it will fall unnatural and distorted, shewing a strain upon the figure, which
the man of taste and cultivated eye can quickly distinguish from folds of the garment natural to the figure,
however full that garment may be. In this model there is, besides, no difference from the one just
described, except in its being double breasted, while the first was single; however, this is optional.
Farther, it is evident that in this style of garment, the sleeve part, with its greatest height A, is put
in the vertex A’ of the forepart, instead of its being otherwise put with its extreme height in the acromion
of the forepart. From this reason, the garment made according to this model is also termed the yertexial
cape. Ifthe model, with its foveal point B, is brought still nearer to the fovea axillaris of the figure, and
the garment made of some blue material, trimmed with a gold cord on the seams A B and A’ B,, it would
be extremely well adapted for a painter’s studio on the lay figure for an Eastern costume.
This style of apparel (the Spanish sleeve cape) may be changed into another, even of greater taste,
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termed a cutter, and in a strict sense of the word a cutter he must be in many ways. A rule is given
to him: the garment must be general, and for no especial form of a human figure. Thus are enumerated
all the departments or branches in the manufacture of garments, without finding a refined part upon
which ever could or would be in a slop or machine-system manufacture a single individual employed.
Indeed it is well known that a person of artistic skill and scientific knowledge would even be rejected.
Thus it is not true'that in a slop or machine-system manufacture of garments there is a part or branch
upon which any single person, still less several persons are engaged; and lastly the so termed refined is
but the fine (thin), set off with fine words, to make the public believe they get articles of art
manufacture, when in reality those so termed are but slop ones.
Second, having now dwelt on the system of slop manufacture, and brought with it art manufacture
in the course of argument in connection, it is but just to bring also the principles of this forward and
shew, that the art manufacture of garments or dress is a special and true branch, which may justly be
termed the refined, or in other words the artistic and scientific. It will then be admitted that in an art
manufacture of dress the first principle is the becomingness of the dress to the special form of figure for
which such dress is intended ; second, the best material in real internal quality ; third, the paying of a
remunerating price where talent in art, and knowledge in science is expended, in order that the
perfect may be reached. With these principles it may fairly be presumed that the really refined is to be
found and cultivated. In an art manufacture of dress, perfectly arranged, first is employed a designer
and modeller, a person of thorough scientific and esthetic knowledge of the human figure, and who ‘is well
skilled in the application of that learning to the designing and modelling art for dress, without failing to
design and construct a model for every special dress or garment ; second, persons to cut out by those designs
or models. If the establishment is not sufficiently large, then the designing and modelling with the
cutting out department are united in a foreman; or the master takes the designing and modelling part
in his own hand, and employs a cutter only; or the master cuts out and employs a designer and
modeller. Here we see that in an art manufacture of dress, the refined, or in other words the designing
and modelling, in dress is really in every position paramount and cultivated, when in the slop manufacture
it is as truly annihilated. Nay, the very principle of the one is to make it paramount, when the principle
of the other is to destroy it.
Perhaps this slight sketch may aid the public to discriminate between articles going under the same
name of dress, but which come from different manufacturers; and further it may be a caution to
influential persons and societies against lending themselves as mere advertisements for spurious articles,
while they kindly and good-naturedly believe themselves promoting the cultivation of art and science in
connection with industry. Let every one know that when the machine-system, supported by a mercantile
spirit seizes upon dress, the refined and the beautiful vanish as if touched by destruction, when in the
other branches of industry it may be completely successful. The refined or the beautiful in dress is only
brought forth by artistic work in the fine art spirit, based upon a scientific foundation, namely, on
the knowledge of the forms of the human figure, and cultivated in connection with it.
Third, if the public from a deficiency of taste is unable to discriminate between those articles of
dress which are becoming to the special form of the figure for which they are made, that is to say,
between the beautiful in form and the disharmonious and unsightly, then there is the more need to
promote a cultivation of taste; that the public feels the real want of this cultivation is shewn by its
looking eagerly after fashion journals, the forms in which it takes for the really beautiful, when in truth
they give nothing more than changes of form in dress void of it altogether. But to cultivate true taste in
the really beautiful, sculpture and painting must take the lead, and that in a manner suiting our modern
costume and time; doing so alone in ancient costume furnishes us only with the picturesque ornament,
instead of cultivating taste scientifically in different kinds of form by our own figures, home apparel,
and European costume; then according to some few specimens of this which make their appearance
in fine art, it is proved to be attainable.
Let us see farther if there is not also something wrong in the fine arts, similarly as we found perversion
in our industrial art justnamed. The primitive forms of objects in nature and art in the realm of esthetics
27
are of the three kinds, the proportionate the broad and the slender; especially prominent in architectural
forms and human figures. We must commence by such primitive elements if we would start from
inward conviction, and be really home. Such however is being demonstrated ina proper scientific course
of instruction in our Anthropometry, but, in this sketch in hand it is only needful to relate how the
mechanism of fine art studies is arranged. This is of two kinds; the one calculated to produce works
for the picture dealer or seller, perfectly in the mercantile spirit, and which naturally must cost as little
as possible. On these conditions one lay figure must suffice, which answers for both the male and female
form. It is usually a female one, and raised to serve fora male figure. Here then are committed two
faults, not only that the female form is made to present a natural male form which can never be; but
as the mechanism in such a lay figure is very confined it cannot be extended in any other way than in
the length of the lumbar region, the result is a positive ill figure,—positive incongruity in the parts, for a
male figure. Now disharmony continues mixed up amongst otherwise harmonious elements, as shade and
light, sentiment, expression, life, power, gentleness &c., does violence to nature, destroying harmony,
and with it the beautiful.
In respect to drapery or costume this studio is just as economically and meagerly provided. Garments
from a slop manufacturer, regardless whether they are becoming, suitable, or harmonious with the form of
the lay figure—male figure form it has none—are put on, and so one disharmony is mingled with another.
Farther by such meagre mechanical means one figure thus arranged must be quite finished before another
can be commenced, which causes a feeling as if the whole picture were patched in piece by piece, instead
of producing in the beholder the agreeable sensation which arises from perfect, undisturbed harmony. In
some studios of this class not even as much as this is bestowed, but a painting is made up out of bits
copied here and there.
Different is the appearance of the other studio to which we refer; it is altogether of higher tone and
more truly deserving pretensions, where the art spirit works alone, for the consumer, not for the trafficker ;
nothing is here deficient; nothing is too costly which may assist in the production of the true and the
refined natural; to call forth the beautiful by bringing in harmony’ constituently all the elements
belonging to art. Here we find the studio furnished, for the mechanical arrangement in grouping, with
three male lay figures, the proportionate, the broad and the slender figures, and three female forms of the
three same kinds. These are of life size and perfect to nature in all their parts. Drapery is amply, not
sparingly provided. ach figure has its suits of costume, specially adapted to it as corresponding in kind
to its form. Not to have costumes harmonious and becoming to each kind would be a certain violation of
the laws of harmony in form, just as great as if a part of one kind of form of the human figure would be
substituted for a corresponding one of an opposite kind of form. Moreover, the shade and light being
different in different kinds of forms, and different in groups from isolated forms, the progress is such ina
piece of art that each part in the composition is kept in an equally advanced stage with the rest, from the
rough sketch to the complete finish, in order that the harmony of shade and light is continuous, unbroken
with the harmony in the parts of the forms. Thus is brought out of different kinds but harmonious
elements a continuity of the harmonious, or rather the unbroken melody of form—the beautiful in
objects of space—deep, expressive, though soft. The working from a group or groups of beautiful
subjects, and a group of perfect and faultlessly draped lay figures, can truly assist to develop the above
high qualities, which never can be reached by completely finishing one single figure ; and then changing the
model of that to finish from it a second and so on. A group of figures should be like a landscape,
remaining undisturbed until the artist has completed the whole ; he must find it as he leaves it.
The models for the drapery are likewise with all care scientifically designed and constructed, and
not less attention given to the proper putting together of the parts of the drapery formed after those
models.
From an artist having at command such a studio or atelier so richly provided with mechanical
means, it may fairly be expected he possesses the power of cultivating and refining taste, by giving
natural and true harmony of form, combined with the other elements of fine arts’ own special domain.
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Enough has been said to shew that there are two descriptions of studios in the fine arts, similar
as there are two sorts of them in our above mentioned industrial branch, and it will likewise be seen
where the refined and the cultivated are really produced, and where not, though assuming such. In
conclusion, it will naturally be deduced from all that has been said that only the mind with its correct
conceptions of the scientific (zsthetical laws in the refined and beautiful) can bring the refined and
beautiful in an object of art, more especially so whenever a dressed human figure is the object. Orin other
words, only a hand guided by intelligence, and not a machine of metal nor of human flesh and bones can
bring forth these qualities in dress. And for that reason society would be better off as respects manu-
factured dress, or human apparel to reject, at least for home consumption, all machines and machine
systems, and let intelligent persons work to order for the consumer. A higher standard of intelligence and
morals would be the practical result among a large portion of the industrial class, with the diminution of
pauperism and its attendant evils.
GUESSING AND KNOWLEDGE IN APPLICATION TO ART.
The industrial Technic, viewed broadly in its farther development through the application of science,
consists of almost such an infinite number of special arts carrying means and power of support, as there
are beings in nature full of inherent and energetic vitality for development in the progress towards
perfection and higher importance. Some of these arts in the more developed and advanced stage are so
highly scientific that they are themselves almost the pure science; when in others, the esthetical, coupled
with the imitative or fine art principle, having less of the scientific, prevails. But every art, and more so an.
industrial one, is always of a mixed kind, and the method of pursuing either properly, at least in some parts,
is mathematical. Mathematics are therefore first to be pursued by the student, striving to become an
artist and scientist. After this ought to follow the natural and philosophical sciences, and then the fine
art principles, and he possesses the means by which to cultivate and elevate an otherwise mean occupation,
to a scientific and esthetical art. Knowledge—it need not to be proved here—is the issue of the studies
of mathematical and philosophical science, and gives the power of action in art to design, to construct and
create, in order and progress, the true the good and the beautiful; when on the other hand, the exercise of
an art by guess-work produces weakness, uncertainty, confusion, retardation, copying and failure. Farther,
the application of knowledge to art, not only places us in the position to create Artistic and useful objects of
high quality, but it is undoubted that men, engaged in an art highly cultivated, even when the same is of
inferior origin, are more intellectual, more moral, and always more respected, and consequently in better
pecuniary circumstances; and this especially so, where an enlightened public is able to judge of a
production, whether it is bad or good, ugly or beautiful; when on the other hand, individuals engaged in
the same arts in the guessing stage, unconnected with any scientific and esthetic principle, and only
executing by guess, being neither artists nor scientists, do not enjoy the high state of intellect and morals
of the former, though they may flourish in their art so long as the public is ignorant of the quality of
their productions. ‘Thus it may be seen what reward man may reap, objectively and subjectively by culti-
vating an art scientifically and esthetically. It appears to follow that even in those arts, as painting and
sculpture, which by many are believed to be purely imitative, the artist may so far undervalue the know-
ledge of the scientific and esthetical principles, as to sink into the mere artisan, and the artisan on the
other hand may by energetic study raise his merely menial trade to an art, and himself to an artist.
It is also correlative that the at first dormant intellectual and moral faculty in man is stirred up
to growth in strength and beauty—not in what art—but, as to how that faculty is directed, or how it
is ‘exercised in that art, to accomplish and produce. And this knowledge deduced from scientific investi-
gation is universal, the lever to scientific art above the guess art, which latter is the lowest process in a
very primitive state of the artist.
From these nobler feelings, and with a foresight awakened by knowledge and geod understanding, .
desiring to keep the arts elevated that they may elevate humanity, in producing only articles of the best
quality in material, form, and usefulness, naturally may have sprung the attempt to coerce the employers into
29
employing in the artistic and scientific branches, the skilled, and not the unskilled and uninformed worker.
But however noble the end in view, the means, coercion, is wrong; then if the true the good and the
beautiful cannot by their own radiant light overcome the opposite views of the master, the matter must be
left until he sees that by lowering his art he loses in the end, and with it so far as the sphere of his
action goes, lowers his country in that art too. And farther, strange as it is, if unskilled and uninformed
men reach the mastership, in becoming functionaries in the upper branches of art, then they in the majority
of cases oppose all their influence and strength to every introduction of fine art and scientific principles
in their own art, and likewise all improvement, except that which they may by the way pirate and pick
up in infinitesimal portions, and keep the master, if he is timid, silent. What cause operated in the first
instance that a master placed himself in so perilous a position? we believe short-sightedness, and cupidity
on his part by paying mere ignorance to evade the just due to skill and knowledge. Again, if the
unskilled and uninformed man becomes master himself, as it often happens, and he remains opposed to all
artistic and scientific adaptations to his art, neither correcting or enlightening his mind, keeping instead
narrowly on gain, when the public is ignorant of those matters collateral with him, then we see ignorance
combined with wealth and shaped in a person whose being is evil, opposed to the welfare of humanity,
while opposed to the refining and elevating influences of the arts and sciences.
With all these facts of daily experience before us we must see the wisdom of setting aside these
dangerous elements of guessing and blindly believing, to pursue knowledge instead with all energy,
bringing such with sound and simple reason in application. The fine arts elevate taste ; science elevates
the understanding by knowledge gathered from it; and the application of both, to any industrial art
whatever, procures the material means for the support of life in a higher stage, and for a greater number
of individuals. In this pursuit the good stands in stern opposition to evil, and the great natural and
industrial principle is paramount.
Let no one say in his ignorance “my art has no science;” before uttering this let it well be
considered whether everything we handle has not a connection with science, either moral or physical; by
earnest reflection and meditation we shall soon find that it has. It is science alone, with the assistance of
suitable literature in the respective branches we investigate, from which we gather knowledge of things,
with which knowledge in application we go modestly onwards, in order aud security to the nobler end
in view.
But as the method—as has been said before—is mathematical, partly so in every art, and more so in
an industrial technic, the application of it must be made with circumspection, only when assurance has
been obtained of the reality of physical facts existing, from which, or according to which the mathematical
formulas are deduced; otherwise the mathematical method may suffer in reputation. This is necessary to
be borne in mind, that many persons in certain branches of industrial art, even if they have some
knowledge of the physical science connected with them, have an imperfect knowledge of mathematics ;
and sometimes it is reversed, they have some knowledge of mathematics, and none of the physical sciences.
In this case they imagine that mathematics shall do everything, and consequently the most absurd
blunders are committed in the arts under the adjectives scientific, and mathematical. For this reason,
it may be a warning to every lover of progress in the arts and sciences to be much on his guard, and
farther to bear in mind that the mere art adventurer is always in opposition to knowledge; knowledge
being the offspring of science, and the scientific art the flower of knowledge, standing inviolably beautiful
by the side of deformity, the offspring of mere guessing. Besides, the acquirements for producing the first
call for some application of talent and even in addition a portion of expense, while the second may be
possessed without either, and even successfully also, if borne out by an ignorant public. Hence the
guessing method is favoured by ignorance, and sometimes even admired; and science and scientific art is
favoured by enlightenment, and also admired, but critically. From this it is clear that there are always
two distinct ideas in opposition to one another, moving man in the pursuit of the arts. The one active in
its influence to lower man, and his works to a chaotic sameness of formlessness; the other active to elevate
man, and his works into clear and distinct forms producing in the mind intellectual and moral enjoyments.
But as the human mind cannot make the leap suddenly from the lower or guessing stage of art, to reverse
itself to the opposite direction or the scientific stage, science is the means and medium by which it may
30
gradually turn out of a chaotic darkness of ideas into the clear conceptions and power of action. To this
end may be read with great advantage a beautiful treatise on Comte’s Philosophy of the Sciexces, by
G. Lewes, Bohn’s Scientific Library.
But as the work in hand is especially designed for studies in the art of constructing models for
draping the human figure, viewing drapery esthetically, or as a fine art, based upon scientific elements,
we would especially urge the study of Anthropometry (geometry of the human figure) without which
science (even with a tolerable knowledge of mathematics) the student would not make such progress in
the art of modelling as to pursue it with clear knowledge, leaving nothing to guess or mere belief; or if
he should be obliged to guess in some rare case, then at least he would not do so with an empty mind, but
with knowledge—the imitative principle.
GENIUS
Is that disposition or bent of mind which is peculiar to every man, and which qualifies him for a
particular employment. In fact it is the bent of mind to be industrious in opposition to idleness. ‘This
genius becomes talent if it is cultivated by close application to an especial art, in a fit and suitable
course to that art. Through earnest and undeviating study collateral with practical application, talent
develops itself into a higher power of mind, and becomes invention. This is the natural definition of the
mental constitution of man in respect to genius. But in the dark ages genius was some unknown power
of which man could never have knowledge, some entity which helped to accomplish work for him without
his own effort. A fine cheap thing it must have been, pity it always disappears when man becomes
enlightened and industrious. Still some remnant of this last genius is occasionally found among our
present enlightened community, especially among “ Gents” imagining themselves superior to their art or
occupation.
Farther, it shews itself in evading industry and instruction, so that licentiousness may gain time and
means, and wealth be monopolized and squandered in idleness and ignorance, creating vice and deformity
instead of virtue and beauty. But genius sometimes makes its appearance in a negative way, namely its
absence is pleaded for the same end, to excuse all deficiency. Still, in the twenty-five years attention,
given to the human mind and its development of talent and strength, among a great number of individuals,
we never found a single one, who with undeviating application and proper instruction did not discover a
strong mental talent; consequently such are the means to call forth the otherwise dormant genius. So
much is this true that individuals even in advanced life, if men of pure or mere science, applied themselves
to a special art, they have become inventors, hence geniuses of talent. And the reverse, the merely
simple artisan applying himself to science, has with its assistance shewn himself equally a man of
genius or talent. And whoever is not idle when favoured by circumstances and means can always become
talented and a genius in any art to which he may apply with pleasure and liking.
MODELS OF DRAPERY FOR THE FEMALE FIGURE.
q 20. The proportion measure A B, fig. 1, Pl. 5, Appendix, presents the half breast measure,
known from paragraph 71 of my Systematic Instruction Book for Draping the Human Figure. ‘The chief
models presented on this plate are for capes, in which are shewn the principles of their construction,
whatever they may be in style.
Fig. 2 presents the cape model, which is similar in its principles of construction to that known in the
work just referred to—namely, it has in the half the quantity of 1} right angle, F AE; but its radius
AB = 3} only, whereas that for a male form would require 4 units; which difference arises from the greater
size of neck in the male than in the female figure. The length E G of this model is various, from 20 to 80
inches, or even longer; determined by the principle of suitability or fitness of the garment to its purpose;
whether that is mere utility, elegance in general wear, or in a fine art sense to attain the beautiful in the
proportion of parts of the dress, as becoming to the especial form of the wearer. A length of 25 inches is
that most generally becoming.
First as H A E (see fig. 2) equals a right angle, equal BAH; and as F A H equals a half right angle,
the construction is evident. The vertex C is obtained by drawing the chord F E, halving it in I, and AC
drawn may be in the same time produced to K. As now from the construction the angle CA E—CAF,
so will, if the model is folded together in CK, the FL fall in EG, namely, Fin E, and FC in CE.
Hence both parts L F C and CEG coincide in angular quantity. Farther, if a perpendicular falls from
the vertex C upon the radius A E in D then this will be a centre out from which G K L may be drawn,
for a style which is defined in length of back side and front by the ratios EG to CK, to FL, and very
becoming, - After direct measurement it will be found likewise that AD = 1} and DC= 8 units. EG
is the length behind, and L F that in the front part.
If fig. 3 presents the folded model, namely, the front part upon the back, then it will be seen that the
model may likewise be constructed in the manner as folded at once; namely, the vertex F is found if DG
is halved; A E drawn; DE halved, and A F drawn and produced to K. Farther, from the centre B is
drawn the curve 1K; C A is made equal to AR, and from the centre C out with CK the curve K H
is drawn.
If the style of the model is to be changed, fig, 4 illustrates how it is to be proceeded with; namely,
draw as before with the radius A EH = 33a curve EB, and that the process may be shortened make
A B= 14 unit; erect a perpendicular B F in B and draw A F with its continuation F K. Draw from the
centre C with CI the curve IK; and from the centre D with DK draw the curve K H. Now make
CF=1, EG=# and draw with free hand the curves BF and BG. Let these lines stand for the
collumial line instead of BE; then FT is the hindpart and GH the forepart. By this change there will
fall a less quantity in front and behind, and as much more will fall on the shoulder and arm BK. It must
be well borne in mind that a less angle must never be given for the angular surface of the axilla than this
model presents; that is, to cover the entire awilla there is required an angle for cape models of not less
than three right angles.
Fig. 5 presents another model according to which a cape is very becoming for plain wear. First
draw from the centre A out with the radius A B the curve BC, and proceed as at fig. 4. But after this
draw with the radius D B = 9 units from the centre D out, the curve B K H; halve K B in M, draw DL
and produce it toG. The DL intersects ALin L. Make LN =—5; draw NC by free hand and take
off the angle at L. Make I E of the required length, say 30 inches, and draw from the centre D the curve
EG, and from the centre H out the curve GF. ‘This style keeps its full quantity round the shoulder, but
it is lessened below it in HG and G F. ;
32
Fig. 6 presents a different style of model, but of which the construction is the same as that jus t
described, with this exception, that it is shorter behind than in the forepart BD; but the chief point is
here the proper length over the arm. To obtain this make G F — 9 units, and draw from the centre E
with the distance of EF the curve F A; draw F D under a right angle in F upon G F, and then by free
hand draw the curve FH D. From H out towards A may be added 12 inch, and the hindpart C A will
then be 25 inches in length, which is a becoming one to many figures in all three kinds of form.
Fig. 7 presents still another model of the above kind with some slight difference of style; the
construction of which is from the above by itself clear. After C B= 21 inches, is fixed, a curve D E is
drawn from the vertex A, taken as a centre. This model has a sleeve, and for the purpose of inserting it
a small quantity F G = 2 is taken from the forepart, and nearly as much from the hindpart, in form as
indicated by the model. D B is drawn perpendicular upon C D in D, and the forepart below rounded off.
The sleeve part, fig. 8, belonging to this medel requires no explanation.
When either of these models is to be made as an opera cloak, a hood is added, of which a model is
given in fig. 9. Though the construction of it is by itself clear, it may be observed that A is a centre
from which the curve B D is drawn, and B the centre by which to find the angle ABC. The E F= 10,
and EG =9, and the curve A DG are drawn by free hand. HC is a tangent to the curve in C and to
the circle in H. Fig. 10 serves as a model for a small collar, if such should be required on either of the
foregoing cape models.
Fig. 11 presents a Travelling Cape Model, which is very different in style from the preceding. The
length of this behind is A B = 80 inches, and the curve B Dis drawn from the vertex C, taken as a
centre. ‘The proportion numbers define the construction of it, but C E must be halved in F, and the curve
CFE be drawn out by free hand, which curve gives the back part. The other curve CG H presents the
front. According as the forepart shall be shorter or longer in relation to the hindpart, the centre, from
which K L is to be drawn, must be taken farther from the vertex C towards M; in this instance the centre
M is 38 units distant from the vertex C, when K Lis drawn. The sleeve part fig. 12, belonging ‘to this
model wants no other explanation than that the curve A BC belonging to the front is to meet the curve
CGE of the forepart. The sleeve length is in general 19 inches.
Fig. 13 presents a Model of a Ladies’ Riding Trowsers; but as the proportion numbers very minutely
define every part in the model, and as the manner of constructing trowsers models is already known from
the preceding, there needs nothing more to be said than that the curve line A B indicates an entire fall of
the back part. Farther, that the trowsers must be closed between the legs like a pair of gentlemen’s
trowsers ; lastly, the size EC D must be plaited in a band to the proper size, or if not plaited in, it may
be taken out as wedges to exactly fit the size of the waist by measurement.
All the models on the Pl. 5 Appendix are constructed by the small measure fig, 14, except the three
namely fig. 2, 8, and 4, which are constructed by the larger measure fig. 1 The reason of using the
larger one in this instance was for the purpose of making the assistance lines more distinct in the
construction, as the principle on which these forms are founded. It will be observed that the lengths of
these models are out of proportion short to the size of the measure, and the collumial line; this is merely
to save space which here may conveniently be done, without interfering with the idea presented of style
and form, if the artist keeps, in his full size drawing to the text.
DRAPERY FOR THE ARTIST'S STUDIO.
When the great Goethe, a man of equal celebrity with Shelling the father of art philosophy, urged the
artist to the study of drapery on Figure Models, Goethe’s ideas being expansive, lofty, practical, and great,
as Shelling’s were deep, searching, and true, then it may be wise and good to develop such ideas in every
direction and in every place where matter and mind are of a quality admitting such development, and to
be elevated by such warming influences ; however common place, however simple the object may be upon
which such life giving beams may fall. Especially we must be aware that every thing is great and
elevated according to the standard of our own minds, or low and worthless just as we look upon it.
Purify yourself in the clearness of understanding, and every thing which springs from your hand will be
pure likewise; that is, more and more nearly approach the infinite in the true, the good, and the
beautiful.
The human form is the alpha in aesthetics, and the primitives or standards of it, as form purely, are
but three in nature and art. . First, the Hercules excluding the sentiment of Hercules, the form of broad
proportions. Second, Mercury excluding the sentiment of Mercury, the form of slender proportions.
Third, Apollo excluding likewise the sentiment, the form of proportionate proportions. These three
forms being stripped of their characteristic expression, in each the pure and mathematical form alone is
left. These forms are ideal or pure as to the perfection in proportion; they are termed in my
Anthropometry for practical reasons, normal forms. Such pure or normal forms we cannot see, nor speak
of, nor understand them clearly when spoken of, unless we have systematically studied them; like one
who to write and speak grammatically must study language in a proper and systematic course.
But who ever has gone through a systematic order of study, has the power from his more highly
cultivated eye and mind to see in every real human figure the ideal or pure form, in the same time that he
sees the real human figure as it truly is. And farther, in this manner he detects the differences in parts
and in the entire, between the pure and imperfect in form; or in other words, sees and detects the
differences between the normality and the abnormality of form in that special figure before him.
The pure figure model ought to be in every artist’s model room or studio, whether he is sculptor,
painter, or industrialist ; not alone for cultivating the eye by such form, but likewise to learn in a higher
and in an aesthetic sense to balance and proportion the quantity of drapery correctly to each kind of form
in every style of costume; nay, even to find the correct quantity of drapery, before which it cannot be
properly balanced. Goethe was fully sensible how necessary correct drapery is for a valuable piece of art.
And that it is so is amply confirmed when every artist of the higher class agrees that drapery must or
ought to be at least in harmony with sentiment, expression, proportion and form of the figure. The
question will arise, what is the good of exquisitely true expression, proportion and form in a human figure
represented by art, if the drapery deforms or blemishes it ?
With regard to expense it is less costly to obtain models for drapery designed for a sculptor’s or
painter’s studio, than it is to do so for the artist’s in draping or dressing the real figure; because the first
need only those models of drapery for the three pure or standard forms, when the latter requires them for
each individual who applies to him for apparel; farther, he has to humour the accidentals or differences
of the form likewise, (for perfectly pure forms in nature are very few,) so that the entire of the clothed
figure shall look artistically well. And besides this a man is continually changing in form with his age,
while the style of dress is ever undergoing some modification to meet the desire of reaching that which is
most becoming, and to create the new; and this last being a fact of constant practical and severe reality,
the models must be continually renewed likewise.
34
The models for draping the figure used by the sculptor and painter are not always constructed by
himself, Scientific men sometimes unite with them to obtain by combined judgement higher perfection.
Tf scientific men are not at hand, artists in draping the real figure take their place. But it is to be
lamented that the mere tailor should be called upon as a substitute. Nay, some go farther than this,
garments from merchant tailors, and even from ready made clothes or slop shops are taken in the sculptor’s
and painter’s studio. It ought not to be alleged in excuse for the sake of saving expense, or of making
the matter easy that such garments are taken from this or that nation where the school for that article is
said to be in better taste; because nationality has nothing to do with this, the beautiful, resting on its own
base may be found in any national costume, and still independent of it. Moreover, the French tailor
school is highly theatric and inflated, shewing itself in an unnatural swelling in one part, and in the other
in too great depression, in violent contrast of form. The English again are stiff, hard, flat, and cramped.
The German, yacillates from one side to the other, and sinks at last into either which comes nearest ; with
the exception that the possession of more science gives it power to rectify itself sometimes, where not
retarded by extreme niggarliness; whereas the aesthetical element must be in every time and in every
circumstance, independent of, and above all, as a guiding liberal luminary in the artist mind.
Now the object of this article is, for the sake of elevating art, to point out how to avoid the false and
spurious and pursue the true. The sculptor and painter should therefore know of what-mind those
persons are from whom they take their garments for the studio, and the spirit in which they work ; because
what is in the man’s mind will be visible in his works; and the artist must present what is in his own mind,
not that which is in another’s when faulty. First, the mere tailor requires but a friend to recommend him,
a good position for a house, and especially a showy shop. These are for him primary and essential.
Next, a set of patterns, as he terms them, often bad copies from originally good models, spoilt by his own
improvements ; or sometimes miserable outlines from borrowed garments. ‘This he looks upon as sufficient,
and the art and cultivation of constructing models as superfluous; for he does not estimate dress in an
art sense, but merely as a necessary covering, as if we lived in a primitive state in caves or hovels, without
rank or distinction, in blessed ignorance, toiling only for the absolute bodily wants. Literature of science
and art cannot easily elevate him, as he boasts not seldom, and takes much credit for his wisdom, that he
never read, nor has a book in his house of the kind, and never got caught in that net. ‘To conclude, he
is constant at dinners, spouting a little religion and politics which he does not understand, and thus
is made up his intellectual stock and store.
The reader of a cultivated mind and learning may think this a very pitiful condition. But comparing
the simple master tailor with the merchant tailor, and slopper, or ready made clothes seller, the first still
stands far elevated above these. ‘This forces itself truthfully upon the mind, if we view their aims and
operations with a philosophical spirit, from a standard point of art. Namely, the mere tailor is from
his very mental nature and bodily habit, shaping and forming, and however ignorant and blundering he
may proceed, his handicraft is such, that there is a possibility of elevating it to an art, and himself to an
artist, if the right means are adopted. From the nature of his occupation he is likewise more humane,
arising from feeling himself the difficulties in producing the becoming in draping or dressing the human
form. In comparison to him the merchant tailor or the slopper is from his very nature void of such
refining and humanising elements; his mind is not in the human figure as to its beauty in form and
proportion, nor ever does he dream even of shaping and forming any thing at all; literature of science and
art he scorns; but his mind and hand are solely absorbed in sale and profit; he can nothing respect
for continually thinking of the one or of the other. He fails to produce the beautiful if he attempts
it because his hands are not guided by a mind and soul full of knowledge and love for art. He distorts
because ignorance and avarice rule his actions. Thus we see the monstrosities of the warehousemen taste
exposed in the leading street windows, and destroying by their vitiated forms, with hackneyed appeals to
fashion, the taste of the public. Thus we see heroes, statesmen, men of letters sculptured in monuments
of art, or pourtrayed in painting, carried down to posterity with proportion destroyed by drapery,
sometimes overloaded, sometimes crimped, and always falsely balanced. Such are specimens of our taste
in 1856, exhibiting in picture galleries, public places, and private mansions. To redeem the beautiful
in draped forms the tailor must be elevated by art literature, and by practising in an art spirit modelling
35
and design; he must come to an understanding with the refined public, and men of science and art,
on points of taste, or the sculptor and painter must refuse to admit all that which is tailorised and
mercantilised, and take to construct models of dress and drapery for themselves.
In the sense of elevating art, photography neither assists, but rather retards, as it copies most rigidly
all the deformities and blemishes of the dressed figure ; and the artist having no power beyond touching up
what is before him, puts himself out of the sphere of creating a dressed form, nay, the element of art in
creating a dressed or draped human figure, aesthetically speaking, becomes here lost.
That the human figure nude as well as draped is the primary element in cultivating taste has been
said, that the mercantile mind (the mere seller) is incapable of creating or producing the beautiful, has
been proved. But that the mind or soul is totally void of all sense for the beautiful is exemplified in the
Jew. It is a curious fact that he from his mental constitution but a buyer and seller, can never be found
proficient in producing even the lowest object in pure taste, and how far must he be then from handling
the higher objects, as for instance, the human form itself or the draping and dressing it in an art sense.
On the other hand, when he acts congenial to his spirit (a seller) he is always successful. In fact the
mind to sell, having its fountain head in the Jew, if it turns to manufactures does so only to sell, not for
the useful, neither for the beautiful, neither to elevate or refine, but simply to sell, and for gain alone.
This mind is the essence working in mercantile manufacture; the slop spirit in opposition to the mind of
art manufacture. The former is hard, cold, rapacious; the latter warm, kind, and liberal. Our mercantile
age embraces too warmly and hastily the first, and stands too far aloof from the second.
If we however turn to antiquity, we shall see the origin of both these states. The Jew according to
history was comparatively speaking from his earliest existence never settled ; he was always a wanderer,
and for that reason never cultivated art and science in statuary or painting. Still less did he hold sacred
any elevated idea in such monuments, as did the Egyptians, Assyrians, and Greeks. Objects of this
kind were too expensive and cumbersome for an unsettled wandering people. Hence no affection or
pleasure for any ever so beautiful place or object of art, (the rapacious selling spirit has here its fountain
head) when the abstract idea of one God in all the universe, unillustrated, was more portable and without
cost. And so long as they could be kept together by the abstract idea of an all ruling unity alone, by
which they were able to maintain power and amass wealth, it sufficed, until after a short life in Jerusalem
they fell for ever on account of their own cruelty, and unyielding avarice against themselves.
But as man is sublime when his mind becomes undeceived and unbound from sordid selfishness ;
when all that is earthly is given up and he acts from the clearness of his understanding, as if by
inspiration, according to the simple principle of truth and goodness ; sublime as the sun when it left that
unhappy vale and lingering stood, as if weeping and grieving to depart, glowing on the surrounding hills ;
infinitely more sublime, the infinite not being able to go out of himself, hence not severing himself from
or going out of the universe, withdrew himself from a part of it (from a nation) and as pure goodness
came to the world, so much the more intensely centralised, in a single man. A Claude is only fit
to illustrate the scenery, a Phidias only to sculpture such aman. The sisters met and illustrated again to
refine and humanise the world, by placing before mankind objects so beautiful in form and proportion, so
pure in sentiment that a Gothic architecture only could form their fitting place. Michael Angelo,
Raphael and others became masters and left us monuments worthy of their name; more followed in their
steps, until insolent pride, superstition, and fanaticism blighted and destroyed, as sordid selfishness
had formerly prevented the germination and growth of the beautiful in objects of art. Humanity mourning,
stood leaning on this grave. Still it seems as if continuous life were made up of two opposing principles,
which could not be severed; as if each side took its turn but to sleep. And after a struggle unlike man’s,
and yet by man performed in ghastly twilight shade, the conquering side appears more strong; beautiful
in form and in thought we see the one, when in awful distortion we behold the other. So the Grecian
muse of science arose from her serene slumber, in a form so fair .and full of youth and active life.
A critique of the mind as well as of the sense sprang forth. A philosophy of nature and of art dived into
every branch which human head and hand could reach. Nothing was considered so little or so mean that
36
high and noble minded men would not clear it up, in truth, in beauty, and in goodness. The industrial
muse, formerly but a sister slave, rose upon the same pedestal with the rest, entwined with them in
harmonious sentiment. No profane mind could insult the one without insulting all.
But, as Schiller says, “Just as we hope, ill has already befallen us;” swaggering impudence and
insolent ignorance, combined with overflowing and undeserved wealth on the one side, and squalid
wretchedness and its attendant vices on the other, step forth in hideous shapes. (Soulless trafficking
Legreeism, the Christian has out-Jewed the Jew.) Art, science, philosophy, are insulted, nay, even
religion in hypocritical action, under religious moral demeanour. The industrial muse sinks weeping from
her pedestal, the sisters grieve and mourn. Noble artists, give not portraits, but symbols in individual
forms of principles working; because persons are but infinitesimals of continuous life in infinite time; feel
not loathful in creating, but have charity with love and truth entwined at heart. Of this, then, the work
partakes, always lovely to behold; it makes strong the hardest man to condemn his own wrong doing.
Then, so true is the moral in human intellect to itself, that if it is only convinced of its mistake, and sees a
truer road, it starts with an earnest and firm will to right itself again, even if it should stand before the
world in a grim and blackened form. The most noble step forward first, and at length even the basest
follow. It is as if there were a chemistry of mind as there is of matter. Two elements mix and
intermingle, a third existence, unlike either of the two springs into life.
Thus, after much endurance and effort to redeem the fallen muse, a most noble step was gained,
originating in the Society of Arts. It is the qualification bill. This qualification idea (element) is so
genial, true, and ennobling to human nature, that it may be carried far into every branch of society, with the
greatest good that ever could happen to a community. Every one would after this, according to his better
mind, ask for quality, instead of, as is the fashion now, for quantity; and every manufacturer will stand
aghast before his shamed out rule, “ Work, eat little, sleep little, and die.” Order, industry, and a sound
manufacture in quality, and in an art sense, would be the result; learning with intelligence would work in
harmony, and never more be seen intellectually dead human beings ground into tottermg machines. Too
low priced articles are intentionally made in many branches of industry to deceive, and to be got rid of but
by cunning sale.
Artist, in that metamorphosis, where qualified human beings spring up out of unqualified raw matter,
the sisters raise the fallen muse again, and never were such lovely and such happy forms seen to unite. There
is a Phidias, there is a Raphael still to give the purest forms in noblest sentiment, as there is yet and ever
was the infinite in nature, hence likewise in man fresh living. It is not then that the essential of man is
dead, but that his senses are dim, his heart is but cold from viewing every object unceasingly with a mind
of mercantile finance. Chase away that blinding centre point of wealth which weighs upon the heart; see
the wonderful beauties in nature and art; absorb from each part the universal or unchangeable, revealing
itself in the special, and once rightly seen, once in clearness, the mental sun will never set. And then a
piece of, otherwise but industry, will rise to a piece of art. The industrialist will become an artist, and °
never sink into a slopper or trafficking manufacturer.
As all improvements must commence with ourselves after blending our minds with the noblest to be
obtained; and as the human frame, nude as well as draped, is the nearest, and likewise the alpha in the
studies of taste; it were well that an examination to prove qualification should be required, in the definite
proportions and forms of the human figure, and in the construction of models for draping or dressing it, of
those persons at least who are appointed to attire princes and nobles. ‘Then these sciences, although
primary elements of the art, and elevating to the mind, are so long treated as secondary, or not attended
to at all, while persons can make wealth in slovenly ignorance, by merely being recommended from favour
rather than on account of qualification.
For men of rank and wealth it is befitting to require the most beautiful in attire, just as it is befitting
for them to live in mansions and palaces in the chastest beauties of art; in order to realise the abstract
ideas of the true the good and the beautiful in every day life; to elevate mankind by beholding objects
37
of the beautiful, as well as by employment, to create them in every branch of occupation. Nay this
appears to be a certain duty of men intrusted with position, whether by rank or by means, or by both in
society: because rank and wealth form but the lever for the end, by right means to elevate and ennoble.
Hence persons have this lever but in trust, the owner of it is mankind. -'Thus the humble man, ennobled
by his action and method of production, attaining position and wealth by right and proper means, will not
more belong to the poor without soul, who live in cottages surrounded by fuschias and woodbines (as
Cardinal Wiseman said) but he will be an intellectually good man—which is the highest religious
eminence that blesses our race.
- It is then clear how the smallest branch of industry consisting in forming and shaping should be
connected with the fine art and scientific element. And although such be treated by a philosophical mind
in abstract thought, still the mind must never be quite loosened from the real or natural; because mind
governs matter, and can bring nothing to the understanding without the synthesis of both in certain forms,
where the general idea of the beautiful particularises itself in the individual. For that reason, (keeping to
the human figure) if an artist or a scientist in an industrial establishment observes how a person of taste is
suited with the dress made to his order, he must mentally seize the essential (the normal form) of the
entire figure running through all its parts; observe at the same time the collateral accidentals in the form
of the figure, if such are present, but especially, excluding all whims which may mix up with true taste,
respect every art feeling and scientific sentiment of it. So for instance when a person bends the arm
much forward at the shoulder, and pronounces a garment to be faulty, because it wrinkles and feels tight,
or when he throws the arms much from their normal position backward at the shoulder, and then decides
that the garment is faulty in the opposite direction, from being too large behind and too small in front.
These ideas are ignorant whims, because a magnitude (garment) cannot be in a definite ratio to another
magnitude (human figure) and in the same time in a less or greater to it. It is not and must not be the
object of the artist in draping the real figure to fit various postures of the figure in the manner described ;
- but it is the most decided aim to fit the natural or physical posture of the figure without mental attitudes
or actions. If however the person observing the preceding, requires that the garment shall fall naturally,
unstrained, neither sacky, but in parts as well as in the entire harmonise and be becoming to his figure,
and shall be under these conditions close, easy, or loose, then these are demands which must be respected
and fulfilled. Every garment made to these conditions is beautiful in whatever graceful posture the wearer
throws himself, and the creases or folds appearing in such a posture are the very same which the sculptor
and painter have most carefully to study; because a figure so draped is chastely beautiful, especially if a
model of perfect proportion. _ Besides this, such folds or plaits at suitable places on the figure indicate
movement corresponding with life.
Respecting quantity in dress, (close easy or loose) the artist in draping the real figure pays it his most
scrupulous attention. Here is one great point of his art, namely to catch in his mind, by the observation
of many cases, what best becomes the one or the other form of the figure in size and style. His mind must
here be creative in the same time that it is imitative. To insure success he varies styles and tries different
sizes, and marks them carefully on the models for the garments. From this creative practice sculptors
and painters may convince themselves it is not always wise to imitate what they see in the draped or
dressed real figures, but rather to be careful in choice, and create and furnish themselves with their
own hands, true and correctly draped models. Here Michael Angelo was scientific, persevering and
industriously great. And if it is now evident that the sculptor or painter should design his models or
drapery to the model figure from his superior knowledge, how positively should he abstain from imitating
the mere tailor taste, and infinitely more abstain even from looking upon a suit of apparel produced but
for sale or in the slop spirit.
There is one cape model for draping the female figure on Pl. V, namely fig. 2, which is the most
fitted in casting drapery. It must never be taken of a less angle for artistic purposes, but it may be of a
larger than is here given.
There is another point to be borne in mind connected with every model, whether it is for a male or a
38
female form, namely, the putting together of the parts of the garment cut out after the model. In this
unskilled, indifferent workers make very gross blunders, whereas among the well-informed, and those who
have a pride and pleasure in their handicraft, surprising perfection is attained. ‘There are then sometimes
faults committed by the workers in closing the different parts of the garment, which blemish it, mistaken
for faults arising from the model. It may be inferred from the foregoing portion of this article that the
form of the figure may be misunderstood, and likewise that an incorrect size be taken of it, which, of
course, would cause the model to be wrongly constructed. In these cases the errors of the artist or
scientist (the modeller and designer) must be carefully distinguished from those of the artisan (the
worker), Should the incorrectness occur from a wrong construction of the model, it is only to be rectified
according to form and size of the figure ; but in case the faults should originate from the putting together
of the parts, of course they can only be corrected by adjusting them, not by any alteration of the model.
The artist and the scientist know how to distinguish these faults from each other; but the common
practitioner, not seeing where they lie, alters the model indiscriminately. Thus we see in some industrial
establishments patched patterns, handed down from year to year, of which the maker himself is as
incompetent to give a proper and clear explanation as the paper of which they are composed ; because, all
traces of the guiding element have become completely lost. And thus it follows if the common
practitioner becomes vague and indeterminate, losing the power of constructing and designing, he most
frequently gives up exerting himself, and, deservedly, loses his customers, who, according as they are of
a better and higher class, are the sooner gone.
The sculptor and painter may infer from this that whenever parts of drapery shall be put together for
a model figure, he not only has to construct the model, but likewise to direct the worker to place them in
proper and correct balance; that is, the parts must fall naturally to one another in the garment, similarly
as the model is constructed, and not be unduly and unequally strained or puckered. An artist, from his
superior knowledge of the human form, may easily undertake to direct this part, with the most satisfactory
result. .
It may here be observed that in some countries men of rank and wealth, with highly cultivated minds,
and having a desire to maintain and extend the culture of art and science, in common or every day life
give stimulus and vigour to them by rewarding the tasteful in modelling and designing, in proportion,
beyond the value of the material. The mere fabric of the dress is with them secondary; the form, the
becoming, the suitable, are primary. To demand a good designed and well constructed model of one’s
own form separately, for a garment, has been proved to have good influence ; as through this is detected
who is an artist in draping or attiring the real figure, and who is not, besides which by such means the art
and science of it is kept in useful exercise.
History gives us records that even princes and princesses in olden time became initiated in some
handicraft ; and it is equally true that the designing of handicraft articles, and the sciences connected
therewith, are in our own times learned by many individuals of rank and wealth, as suitable to our
progress as the mere handicraft of them was to former generations. Lastly, it may be evident from the
perusal of this paper that, of all sciences and design in technics, none are more suitable for minds loving
and striving for the beautiful in form than the very same here brought forward ; because they give a deep
insight into creating models for fine art studies, besides a knowledge to distinguish clearly the artist in
draping the real figure from the common practitioner who clothes us, and assist to discriminately reward
this branch of industry where reward is due, and withhold it where it is not deserved.
MODELS FOR LOOSE OVER DRAPERY.
q 21. On Pl. 6, Appendix, fig. 1, is presented a hunting cape model, which is well defined by
the proportion numbers. The length A B is various, but it is generally 36 inches. From the forepart a
considerable piece is taken off, as C D E defines, so that the arm may easily pass through. ‘The two parts,
that is hind part CE, and cape, are put together in C EF, over the shoulder, where they are of equal
form. It will be seen that CE FG is but a part of a cape, covering only the chest. And also it will be
observed that this model is constructed single breasted in the forepart, but double breasted in the cape
part; such however is optional; its length is allowed to fall upon the hand to F if the arm is pendent.
The model answers equally for ladies or gentlemen, if attention is only given to construct it by a female
proportion measure when intended for a lady. his model, fig. 1, is constructed by a male proportion
measure, fig. 2, taken here of a size which accommodates itself to the plate, but which in practice is
naturally determined by the size of the figure in the manner stated in my work of systematic instruction in
over garments.
| 22. Fig. 4 presents a.model for a Russian poncho. This however can scarcely be termed a
model, as there are no proportions defining the parts, and therefore no science in the construction of it.
This garment is produced in practice by merely taking two straight pieces of material, which must be of a
length when cast on the figure that the corners touch the ancle. The pieces being joined together in
A B, have an opening left at C for the head to pass through; the four corners have cach: a tassel,
But this rough kind of garment looks picturesque only on those who understand how to wear it,
However this loose and shapeless wrapper which has little more to recommend it than the folds produced
by holding a sufficient quantity of material well on the figure, has found its way in various countries. The
German poncho as presented in fig. 3 is a modification of the same. Its length A B is various, suiting the
choice of the wearer, but generally A B= 86 inches. The construction is as follows :—draw a quarter
circle from the point D, with a radius of 4 units —D F ; draw the chord of the quadrant, halve it and
draw DE. Draw a second chord EF, halve it, and draw DA to C: draw from the point A, with the
length AB, taken as a radius, a circular curve BC. Now let fall from the point A upon DG a
perpendicular AT; and the proportion numbers define lastly the drawing by free hand of the collumial
lines A H. for the hindpart, and A E G for the forepart. This forms then a model for a German poncho,
which is in reality no more than a sort of cape, flattened in the front and behind by the collumial lines
AH and AG, deviating in position from the first quarter circle. Thus is thrown as much more fulness
on the shoulder, as the curved surface lost behind and in front in the construction.
The German poncho, upon being introduced into England, underwent a change, and was reduced to
the cramped form A K I for the sake of economy in material; and in this manner it has sunk to a merely
necessary tasteless covering, a simple wrapper for travelling, ruder in form than it was originally, having
been robbed of the quantity required for folds.
q 28. ‘The remainder of the models on Pl. 6, Appendix, are all loose over garments with sleeves.
ie
The one shewn in fig. 5 is constructed nearly like that in Paragraph 17, Plate 4, Appendix, and there
termed a Spanish sleeve cape model; later it has received the name of vertexial sleeve cape; because the
sleeve goes with its highest point into the vertexial point of the figure. Still later this model has been
changed into the form given in fig. 5, Pl. 6, Appendix. ‘The Axilla incline A B has no seam, it is creased
and folded over in AB as AC B illustrates, and then put together with BC in BD. Thus there is but
one seam in the forepart running from the vertex B to the fovea axillaris D; and when E is put together
with D, the arm hole E A C is obtained, into which the adjoining sleeve part of the model is inserted with
its joint F in the forepart E; whereas, previous to this D K joined with EL. But care must be taken
that the hindpart M G of the sleeve goes in the hindpart of A E, and the front MF of the sleeve in the
front of the arm hole.
40
The construction of this model is in every part by itself evident, because the proportions define them
all unmistakably clear. It is necessary to observe that E D= K L=1 unit: on account that the length
A & behind, over the projection of the scapula on the figure requires one unit more than its corresponding
length in the forepart ; and for that same reason the sleeve part must have more length behind than in
the front, and GI must be made to fit F H, by holding on GT in the elbow, and stretching out F Hin the
same place. But although this style of garment is much liked, the vertexial cape above mentioned is just
as much in demand.
Fig. 10 presents an officer's vertexial sleeve cape model, which can be perfectly understood from the
proportion numbers and the preceding Paragraph 17, on PL 4, Appendix. However some few points may
still be attended to. First the entire A G10 units. Second, the back part is behind + unit Jower, and
the forepart in the front of the neck hole ( collumial line) } unit higher than the same points in fig. 5. It
is necessary to make such a difference in the parts, to cast more fullness round the shoulders and behind.
In the ordinary vertexial cape the vertex of the fore and backpart is situated in P, but in this model it is
placed lower, as the empty space of P O shews ; but this deficiency is made up by the broad top K, of the
sleeve part. Farther HC—1, and CF=1. But the point C of the back part being situated one unit
higher than the point H in the line AH, and the point F of the forepart being two units higher than H
is, on account of A H being greater in this than in other yertexial cape models. If this were not observed,
OC would be too large. Farther, H D is made equal to A B, and C D is put together with EF.
It may also be remarked that IK of the sleeve part is greater than would fit exactly in the fore and
hindpart ; but this excess of height has been taken for the purpose of holding L and M on full over the
shoulder, in order to allow room for the epaulettes. Ifnone are worn. K I may be taken so short that
it is not necessary to hold on in LM. ‘The entire length of the model is generally from 40 to 42 inches.
Fig. 7 presents another officer's cape model with sleeves, which is of quite a different description to
the one just explained. The length EB is in general 45 inches, and the width in B C— 35 inches. The
construction of it is as follows:—first, the ground piece H EA F Gas the proportions define; draw the
collumial line HE of the hindpart, and that of the forepart by free hand; after this move the eround
piece in such a position, that when a right angle CDI is drawn on its base DI in D, the leg D C may
comprise no more than C B= 35 inches. The length of the leg DC=AB- 3 units, DK=1, and DO
is put together with KL. The curves MK and M D are drawn by free hand.
The sleeve part accompanying the model, and belonging to it, is clear from previous instruction, and
so likewise is the small cape, which is however risen high in the front above the dotted circle as much as
1 unit, and projected proportionately in front downward, beyond the usual boundary; in order to produce
more fulness than there is in the plain and simple cape model, This small cape is usually from 19 to 20
inches long, if put on a cloak cape, but often more or less than this number, according to the decision of
the wearer. It is the same which is put on the other officer’s cloak (sleeve cape) fig. 10.
24.Going back to civilian drapery, fig. 6, is another style of sleeve cape model. The
construction of this model is likewise easy, as seen by the defined co-ordinates. Its length GH= 36
inches in general, unless such is expressly defined to be longer or shorter. After the proportions A H,
EF, &c, have been laid down, and the AB and CI have been drawn, then AB is made equal to the
length, taken from the vertex A of the figure to the knuckle of the hand when the arm falls straight.
Now draw a circular curve BI with C B from the centre C; in I draw a perpendicular, 1 K==6 units to
CL. Draw a second circular curve K L with D K from the centre D; and the curve BK by free hand.
Lastly, draw a third curve BM with DB from the centre D, and the curve NM out also by free hand.
Likewise draw the curves OM and OK, both by free hand. These two latter OM and OK are joined
together, and so have the appearance of a true, as well as a wide sleeve. That GOK presents the
forepart, GH A BK the hindpart, and lately O A BN M the apparent sleeve, must be evident.
Another model, fig. 9, presents a less wide, but in the same time a real sleeve in one with the body,
41
the construction of which is so simple that a description of it is scarcely necessary. However it may be
said CD—=AB;; and that the point A must be put together with the point C; and CD joined with A B.
Farther, that F E is joined with EC, and lastly FG with A H.
The most recently introduced sleeve cape, or wrapper model, whichever it is termed, is presented by
fiz. 8. After that the proportions haye defined the parts, draw by free hand the curves F'C for the hind-
part, and EA for the forepart. AB is joined with CD. ‘The sleeve part belonging to this model is the
same as that accompanying fig. 7.
The small collar, fig. 11, belonging to each of these models has been described ; it is usually from 3
to 4 inches in breadth,.seldom more ; but its length is defined according to the collumial line of the model
to which it is attached. The small proportion measure, fig. 2, belongs to all the models presented on
Rlia6!
Fig. 12 is a design of an Arab bournous (more properly burnoose). This figure can decidedly not be
termed a model, as it is the most raw article of covering, and one which the rudest savage might design.
Take a strip of material F G as long and broad as is suitable to the height of the wearer. Put on one side
in the middle of the length a square piece AC DB, loose, except where fastened together at A B, and
about 28 inches in length. Put CE together with ED, draw it over the shoulders and it forms the
garment. To make a variety in it, hook the points A and B together; throw it over the person, and
ABDC will hang loose behind like a sack ornamented with tassels at the corners, Like all primitive
apparel the bournous is worn by male and female.
Although this is a most raw design, springing from a most primitive mind, the free and unfettered
idea is not to be scorned. It is in design as in poetry that such free ideas are preludes in the savage mind
for better things. It is an endeavour to lift itself up in both cases, expressively though dimly, often
powerful though rude, towards the good the true and the beautiful. Better minds, nay it can be truly
affirmed the most cultivated and learned, and the deepest thinkers often descend from their elevated
standard to the most primitive of man’s probable earliest natural ideas, to give a true and unassailable base
to the finest structure of years of meditation. Holding true to the foundation that the edifice may be firm.
POSITION OF THE PARTS IN THE AXILLA,
q 25. The folding model of the thorax developed from a figure model has been treated of in
Anthropometry, under Paragraphs 18 and 19. It was there sufficient to go only as far as the normal form
required. Here however it may be desirable, for certain cases in practice, to know the different positions
the axilla may take under certain conditions, and likewise where the limits of its various positions lie.
We do not wish to give direct synthetical instruction on this matter, but rather to treat it somewhat
philosophically, so, namely that every student may reflect and decide for himself according to his own
conviction, what position the axilla may most correctly take, harmoniously with the corresponding part of
the figure in the thorax.
From the above-mentioned paragraph 18, we are already made acquainted with the evolvent, but it
may be well in the explanation of the fig. 1, Pl. 7 Appendix, to bring it again to the mind. Construct
therefore the thoracial part of the figure first, according to the rules in Anthropometry, with its axillar
section ABC. Agreeably with these the diameter of this section is AC==5 units, and as the entire
circumference of its circle is calculated in value equal to 15%, so may the quarter of it, BC, be taken equal
to 4 units; quite near enough for the present purpose. Make the tangent BD—=4 units; divide BD at
liberty into equal parts, say into four. Divide also into the same number of equal parts the quadrant BC.
raw EF, GH, &c. on the radii TE, 1G, &c., and make EF, G H equal, in order as they follow, to 1, 2,
42
3 parts of BD, namely GH=2, EF=3. Draw by free through the points D, F, H to C the evolvent
DC; then is its radius HG=GC; the other radius HF =EC; and the third BD=BC. Of this
geometrical truth we shall make some use, namely in defining the axilla line in the model developed from
the thorax.
q 26. See fig. 2, Pl. 7 Appendix ; here are three positions of the front part of the axilla; LMD
is one, and in the same time the most perpendicular which can possibly be drawn, because the greatest
distance of the parallels A F and LI is AIT—10; and the vertexial point M of the axilla is the nearest
forward it is possible to draw ; see Anthropometry, development of the thorax. Hence this is the limit of
the perpendicular position of the axilla. NOP is a second position of the axilla, and the most inclined
which it can be made to take, because the acromial point O of the axilla in the model, lying in the evolvent
CF, can never be in BF, and lower towards F it can neither be situated, as the vertexial point N would
then move so far back, that P would be unnaturally far from the sternal point K. Hence this is likewise
the limit of the inclined position of the front part of the axilla. Between these two limits of the axillar
position of the model, there is a third one, namely GH K; this is termed its normal position. . Besides
this latter there may be drawn infinitely more; on the one side the inclined, and on the other
perpendicular ones.
Let now the enquiring mind, after many experiments, decide which of the positions that the axilla is
given in the model suits best ; but bear in recollection that the clavicular line LD=KH=PO=8,
must remain under every position the same in magnitude or size, namely constant, that is according to the
proportions in Anthropometry. ‘The vertexial points N, G, M, have their limits so that N is the lowest
and M the highest in position. Likewise LI—=IK in the two axillar positions M and G. But in the
inclined position of the axilla N PO, the sternal point P takes its position so high, that if IP is drawn
PI>LI. Hence the axilla has too much surface in P K, in this case, and hereby is very close in the
surface of the pectoral region E, But the reverse takes place in a perpendicular position of the axilla,
namely, the pectoral region in E becomes full in the surface. However if the sternal part of the figure is
much projecting, and consequently the acromion of the scapula much receding, then the inclined position
of the axilla is preferable. But generally, the normal one is the best.
Fig. 3 represents the normal and the inclined position of the axilla with the proportion numbers as
required in practice. And fig. 4 represents in addition the perpendicular form in position, It may further
be observed that the more backward the axilla part of the model is placed, the lower is its acromial point,
see D, H, O; and for that reason the point must be still more reduced under the same condition in fig. 4.
The reverse is to be observed of the point A’ in the forward place of the axilla; still experience shews
though the axilla is placed forward, and the point A’ high, this point must be kept proportionately rather
low. For example see fig. 5, if the inclined B V is placed in the position C V, and in consequence, when
the hindpart is placed the resultant line D E is produced. Still the point A, as resulting from the position
of the hindpart in B V, is more desirable on account of its pleasing result in the form. But the curve
EA, drawn by free hand, must touch DE in F, in the half of its length. Thus the position of the two
curves F' E and E V becomes defined by the resultant DE; but the curve F A by the first resultant A E.
These relative positions of the points A, F, E, take place in every position of the axilla, whether it is back
ward, forward, or normal. It must be borne in mind that these experiments in the positions of the axilla
relative to the other parts of the model, are made in one and the same form of figure, perfect in proportion,
and normal in position of parts; it should be understood that experiments are made only on figures of
middle proportion (k= 6b) when primary facts of this kind shall be settled.
The position of the side part on the model in figs. 2 and 3, is the same, which by examination soon
becomes evident ; the student must not be misled, because the quantity of depression is QR = 33 in fig. 2,
and only 14 in fig. 3, ‘This difference arises from the different positions of the backpart, as is clearly
seen by a comparison of them in this respect ; and considering that the dorsal length of the hindpart in
fig. 3 is just so much increased 6} + }, as the lumbar length in it is decreased, 84, the side parts
could have neither changed in length. Thus the side parts in the two figures are the same, and the side
curyes remain with them unchanged.
43
But a variation in the side parts is possible which will change the form of the curved plane, see fig, 4.
Here the side part is placed with its lower end in the extreme point Q, and as BQ + QC must be equal
to 7 units, wherever Q may be situated in case CQ is taken less or more than 2 units, the quantity of
depression, otherwise falling between Q and the side part, has now its place in BE, and the line DB is
drawn. ‘The surface of the side part has now become less curved in the lumbar region Q FB. By adding
however in this case } unit at the very most to the side part in the scapula point F, it preserves the normal
side curve, but becomes in D fuller in the surface.
We have then in figs. 3 and 4 illustrated the two extremes in which the side part may be varied in
the lumbar depression. As now the distance EB=1%in fig. 4, and the distance of QB=1%in fig. 3, it
is evident that the position of the side part of QB in the lumbar depression may be placed more or less
towards Q, or from it, towards E. Hence a great number of variations may here take place in
application.
On this principle the model fig. 5 is constructed, as the side part with its position, and side curve
GHI clearly indicate. In this model there is only needed the wedge K LM to be inserted in the section
OP. 'The remaining portion is by itself evident, and requires no farther explanation,
ON PRESERVING MODELS AND DESIGNS.
This is a question which it is incumbent upon me to put in such order that every one whose mind is
not clear on the subject may be enabled to come to a decision.
At first it must be understood that the question is not one of designing and constructing models, that
is, of producing forms, but merely whether certain forms produced for practical purposes shall be destroyed
after once being used, or preserved for a second or repeated use.
This is, curious as it may appear, a subject which has put practical men of one and the same profession
into stern antagonism. The one positively opposes what the other, on this point, just as strongly upholds.
It is moreover remarkable that such antagonists are not only to be found-in England, Germany, and
France, but they are to be met over the whole world in every important town; and still stranger is it
that they should carry it out in such a manner as to work to their own disadvantage.
It would be desirable, if it were possible, to bring this matter so before the mind of every well-
meaning and intellectual man, that such antagonism may vanish and harmony be introduced among those
in dispute. Scarcely would such a dissension be worth any notice here, had not the conflicting opinions
operated upon the artistic and scientific element in modelling and designing; namely in degrading and
lowering it, merely from an obstinate opposition on both sides. First, let every person interested, pause
and reflect, it will soon become clear that if the design or model is saved after the order according to it is
executed, it would prove valuable when certain particulars are marked on it, which before hand might not
have been known; and farther, in the case of a second use of it, with the assistance of these remarks and
notes respecting size, form, &c., one may be rendered more critically perfect. Second, models and designs
preserved in an establishment are valuable as an actual property to a successor, for without such a
possession he would only receive the mere skeleton of the establishment without the soul. Third, in very
busy seasons, to use the models or designs again, when time does not allow of their being constructed
entirely afresh, or when the interval from the time of their construction is not sufficiently great; or the
change in style not sufficiently prominent. Lastly, they may be valuable when saved, likewise for the sake
of comparison and information as to progress, and to shew the height towards perfection reached in designing
and modelling. ‘To save them for a year or two is advisable, and also never to destroy one before a more
perfect substitute is obtained, All these matters should be conducted systematically, and not broken off
or disjointed. ‘That this has actually been done by energetic business men without any mystery, is an
established fact, and can therefore be admitted without contradiction.
But those persons who are altogether against the saving of models and designs, must have the abuse,
and not the right management of these things in their minds. ‘The abuse of them is in keeping them too
long unrenewed, arising from a want of proper knowledge on the subject, or from inactivity, or from
shortsightedness and narrow-minded selfishness. But an artist and a scientist never commits himself thus,
for to him the ever-working law of nature is clear: continual renewing, in order to maintain a continuous
vigour health and beauty, up to the normal state. Miriads of inductive facts are examples, displayed before
us every moment of our existence. It is in all things so, nay (speaking philosophically) even in death ;
should it then be otherwise in the management of those things which have become an element in the
industrial sphere? What a sloven in an industrial establishment abuses cannot be brought into the
argument, as such a person is not taken into consideration. By neglect and inattention, men may bring
their own being into a degenerate state, how should they then not more likely bring their models and
designs into the crippled condition of poor patterns? If such patterns and faulty imitations are termed
models or designs, and such are in the minds of those who are opposed to the preservation of them
generally, then indeed: they may justly oppose their construction or design, and even more so that they should
be preserved. We see then how one thing may be substituted and taken for another, in the absence of all
45
true knowledge, merely on account of its external similarity. Thus we have known industrial men quite
abhor the idea of being taken for mere copyists or tracers, instead of artists, on being seen with designs on
paper in their hands, by those who could not distinguish at sight the model from the mere pattern.
True, if things so obtained were received as models and designs, it were better that an industrial
professionalist never saved one of them. It would be decidedly preferable at once to make the design or
model on the material, and which would not extend beyond the object manufactured. ‘Then at least, as
it appears, the art would be continually cultivated in manufacturing practice by absolute necessity, so long
as there were a demand for any productiveness. But alas, this method has been long enough tried and
abused to the utmost; it is actually the most primitive one in all handicrafts, and has most lamentably
kept in the rear instead of advancing. It is by this means that men have excluded all science and art, and
have sunk into blindly working by the rule of thumb. It is by this method that the handicraftsman or
mechanic in proud ignorance boasts of experience only, despising all mental and reflective guidance, and
with it all science, nay, all literature, not even respecting that which is designed especially to elevate his
own handicraft to an art, on a scientific base and artistic principles. Lastly, it is by this methed that men
by an empty boast of experience sink into a soulless and mindless empiricism, merely picking up
unconnected trifling facts, disordered and confused, in truth, by which men sink below the very machine ;
for the machine, though blind and without reflection, at least has order.
Now it may fairly be questioned whether on this side of the matter which we have in discussion there
isno abuse. ‘True, it may likewise be said as above, that men sinking thus low their industrial profession
do not beiong legitimately to our argument, and for that reason only such should be admitted on either side,
as elevate themselves by the manner in which they carry out their profession. Be it so, and we need only
to deduct from each what is impure and mean, and embrace that which remains pure, and which is in our
argument the art of constructing and designing models according to scientific and artistic principles,
whether they should be preserved upon paper, &c. or whether to be destroyed in the article, in the progress
of its manufacture from them. We see then clearly that we should not attack the good and valuable
element (modelling and designing) in one or the other method, but endeavour merely to eradicate the
abuse in both. Artists in either method would naturally unite in support of the universal and true
portion of art and science in their profession, by which they are unmistakably elevated and respected,
against the illegitimate proceedings which degrade it by abusing its science. Thus harmony may be
restored among reasonable, intelligent, and good meaning men, although they were antagonistic.
Be it remembered in every case,in which any confusion is committed to a careful analysis, order and right
understanding will be restored; so has it been for instance with the scientific art of modelling and designing.
Thus after some sifting and reflection this art is, in the more advanced industrial establishments, as being
an intellectual function, separated from the merely mechanical one; similarly as there has long since been
a separation of the mechanical handicraft from the merely unskilled day labour ; and as still farther back
the purely scientific has been separated from the applied. All this is in order that the divided functions
may be more perfectly performed in practice ; better learned and better instructed, as a practical theoretical,
as well as pure science, which alone gives practice a sound base. Similarly as the architect superintends
the mere builder, the modeller and designer superintends and directs any other industrial manufacture to
which scientific art is applied. And the same can be done in every industrial branch, for none exists
which has not its science. External anatomy, preparatory to anthropometry; and anthropometry,
signifying the different proportions and forms of the human figure, are the true sciences upon which rests
the art of constructing and designing models for draping the figure, if the method adopted is mathematical,
which alone forms the sound ground work, not only for this, but for many other arts. Farther it is
commendable that we should adopt the scientific element as a test stone, and are not indifferent to the
rectifying and improvement of methods in each of our respective arts; because, “ indifference is the mother
“ of night and chaos,” unless it be a momentary slumber for renewed strength to better action. For this
reason, a little warm discussion is decidedly preferable to having no argument about the matter at all.
Some men, it will be observed, will enter into a discussion of this nature by arguing that “ every thing is good
“ enough,” that this or the other “ will do well enough.” Some others again argue in a reverse tone, and
ennoble and elevate the most insignificant subject by their language. The former carry the influence of
46
destruction, the latter that of renovation. Life always conquers in the end, nay, it germinates even out
of death. For this reason, whoever feels himself possessed of the life giving element never desponds under
the most adverse circumstances, for he knows his power. Hence again the well-meaning agree, although
perhaps meeting by different methods, in the true, the good, and the beautiful. Ifso in the general, why
not in the science of their especial arts? For all science is linked in one continuous chain,
If, in conclusion of the argument, we apply especially the idea of rectification in the scientific art of
mathematically constructing and designing models for draping the human figure; then it must be evident
to the artist in draping the real figure in an industrial profession, as it is convincing to the artist in the
fine arts’ profession, that both would unite in the scientific points of external anatomy, and forms and
proportions of the human figure ; as being equally desirable and necessary to know for both professions,
fine and industrial. What reflecting man would not see that if an entire in height and breadth were
placed before him, consisting of several parts, natural to that specified entire, such parts must be in harmony
to each other and to the entire, if the entire form in its kind shall pass as true and beautiful. And if so,
then the philosophy of form, first, points such out in nature; second, in art it decides and defines these
parts into a harmonious entire, if possible, above nature. Such is the science, and the scientific elements
which reflecting and thinking men are looking for. Again, men agree in the scientific and universal,
although such are revealed in the most special; because there is no special without its universal, whieh
links all.
For this reason, all men are from the nature of their mental constitution united internally or
intellectually by the universal, revealed to them on special surrounding objects, which coming in contact
with the senses, stir them up to consciousness and reflection, and then with their own endeavours they
follow the true path of thought. And thus it is evident, if the mind is not by merely selfish motives
forced from this natural order, man is always intelligible and true. Moving on in such a course with
earnest industry and true love for his occupation, whatever it may be, lead him steadily and certainly
forward to excellence, to the envy of the slothful and immoral.
The natural order in a profession chosen with an earnest regard, is to study steadily and systematically,
first, the scientific elements of it; view the scientific principle in itself true, to be suitable in its
application ; second, adjust such by application, that theory and practice may harmonise; third, search by
self thinking deeper, and never retrogade, but progress; so that the better may be continuously produced.
If we at all times held unconcealed and open in practice, the same as in pure science, to natural and
true principles in scientific order, without the intermixture of interested views, so that we might see from
the same centre the moving spring, out to the same end, none would be in opposition to the other, but all
would act in harmony for the welfare of each and the entire, in proportion as each has his position. Thus
it was the Greeks came to perfection.
But as soon as self interest conceals the leading spring of movement for hidden ends, in whatever
occupation or office it may be, the untempered material, or raw physical will soon overbalance the
intellectual, however excellent, and draw the whole to destruction. A mere augmentation of the material
without the mental and moral to preserve a proper balance to it, is what no wise and good meaning man
ever would desire ; because by the immutable law of truth and justice he would fail.
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